Prabuddha

THEORY
 TABLE OF CONTENTS

1. History of Indian Classical Music …………………………………………………………….……......................................... 3

2. Detailed study of Naad, Shruti and Swar……………………………………………………….…………………………………….. 7
3. 40 basic principles of Hindustani music………………………………………………………........................................... 11
4. Detailed study of your own gharana……………………………………………………….…………………………………………… 14
5. Raag Parichay ……………………………………………………………………………………………………………………………………… 16
6. Taal …………………………………………………………………………………………………………………………………………………….. 21

2
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
1. History of Hindustani Classical Music
Indian music has developed through very complex interactions between different peoples of different races and cultures
over several thousand years. It is an oral tradition where music has been passed down from generation to generation
but not much has been kept in writing. However historical treatises give a glimpse of when, how and from where our
music was born and how it has evolved to its present day structure.

1500-500 B.C
We hear of music first during the Vedic period, Sam Veda was considered to be the origin for Indian Music. Music
started with three notes, Udaat, Anudaat and Swarit and then settled in five notes in Samveda and later on increased to
seven which we have to this present day.

Guru-Shishya Parampara
Music in India has been passed on in a tradition best described as Guru-Shishya Parampara (preceptor-disciple
tradition). This method has occupied an important place in Indian culture. A guru is regarded as the metaphysical father
or mother of his/her disciple and is ranked higher than biological parents.
The Gurukul (guru's dynasty or family) system dates back to the Vedic period. In the gurukul system of education, a pupil
or shishya, after his initiation (Ganda Bandhan), lived in the house of his guru, and learnt music until his/her Guru gave
permission to perform. It takes somewhere between 12 years to 15 years. Gurus were expected to teach everything
they knew to the disciple.

There were four kinds of gurus: Acharya, Pravakta, Shrotriya and Adhyapak. There were two types of shishyas: one, who
paid fees to the Guru were known as acharya-bhaga; the other, who learnt by performing domestic chores in the guru's
house, was described as dharma-shishya.
The Gurukul was the direct precedent of the concept of gharana in Hindustani music. Of course, in a gharana the
learning was confined to the scholastic and the performing arts, and there was no religious teaching.

500-200B.C. - Ramayana and music

The first Indian epic, Ramayana, was written in shloka form. The word shloka refers to a particular kind of metrical
composition known for its easy tempo and lilting rhyme.

The term Marga sangeet is also used in the epic to denote the accepted and prestigious mode of music. This music was
not for entertainment. It was sung for the Gods.
Musical terms such as pramana, laya, tala, samatala, kala, matra and shamya regularly feature in the epic.

Mahabharata and music

Mahabharata used the term gandharva instead of sangeet. The epic therefore referred to a more specific kind of music.
Musicology or the science of music was called gandharvashastra. Superhuman beings called Gandharvas were the expert
practitioners of this music.

The names of the seven basic musical notes (shadja) have been clearly mentioned in the Mahabharata, which was
composed around 400 BC. The epic therefore bears testimony to the long living tradition of Indian Classical music.

Music in Jain and Buddhist sources

For example, the Sthanangsootra lists the merits and demerits of vocalists. Interestingly, these nearly tally with
Naradiya-shiksha. Jain texts list many instruments not mentioned elsewhere.
3
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
200 B.C.-300 A.D. - Music and Natyashastra
With its historical and deep-rooted religious tradition, Indian mythology holds music to be of Divine Origin. Narada was
the first sage to whom the laws of music were revealed; Tumburu was the first singer; Saraswati was the goddess of
music and learning; Natyashastra was written sometime between 200 BC and 200 AD.

In the Natyashastra, Gandharva music, the techniques of playing musical instruments and the rules for talas are
explained. Natyashastra also defines the Rasa theory.

300-600A.D - The Gupta period

The period of the Gupta kings shone in literary excellence. It is often described as the Golden Age of culture, arts and
learning in ancient India. Kalidasa's works mention different types of songs like the Sadharan Geeti Kakaligeet, Streegeet
and Apsarogeeti, technical terms like Murchana, Swarasaptaka and Tana and qualities of voice like Kinnarkanthi.

Dattilam: gandharvashastra: moving towards Raag

The music of Raagas, as we know it today, is the culmination of a long process of development in musical thinking that
aimed to meaningfully organize melodic and tonal material. A landmark step towards the evolution of the Raag was
taken when sama-gayan gave way to gandharva gaan as the mainstream of the sacred music of India. Dattilam, dated
roughly 400 AD, is the main text for this music.

This text discusses parent tonal frameworks (grama), the 22 micro-tonal intervals (srutis) placed in one octave-space, the
process of sequential re-arrangement of notes (murchana), and the permutations and combinations of note-sequences
(tanas).

Dattilam also describes the 18 jatis which are the fundamental melodic structures for the jati-gayan. The jatis have ten
basic characteristics, which closely resemble the structuring and elaboration of the contemporary Raag in Hindustani
music. The names of some jatis reflect their regional origins, as do the names of many Hindustani Raagas today, e.g.
Sorath, Khamaj, Kanada, Gauda, Multani and Jaunpuri.

600-1200 A.D - the Deshi in music

Brihaddeshi (The Great Treatise on the Regional), by Matanga was the first work to describe music in the period after
Bharata, before the advent of Islam began to influence music. Brihaddeshi is the first major and available text to
describe the Raag, which has been the central concept in Indian art music for centuries. It also introduced the sargam, or
notation in the names of notes. In Matanga's discussion of musical scales and micro-tonal intervals he clarifies what
Bharata had said in the Natyashastra.

One of Matanga's major contributions is his scholarly focus on the regional element in music. 'Deshi' has to be
understood in contrast to 'Margi' music, which is sacred. According to Matanga, "Deshi is that which is sung voluntarily
and with delight and pleasure by women, children, cowherds and kings in their respective regions". Deshi music
captured the flavor of a range of human emotions from different regions. Through notes it was formalized into
ascending and descending scales.

Raagas and talas

The present system of Indian music stands on two important pillars: Raag and tala. Raag is the melodic form while tala is
the rhythm underlying music. Together, Raag and tala distinguish Indian music from many other musical systems of the
world. The rhythm of music is explored through beats in time. Melody evolved as the Raag through several processes;
the tala resulted from a similar evolution in rhythm.

4
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
Thus Raag, which means color or passion, became a framework to create music based on a given set of notes (usually
five to seven) and characteristic rhythmic patterns.

1200-1800 A.D.
Hindustani art music began to evolve after pre-medieval Indian music passed through certain stages of transformation
and development till the beginning of the 11th century. Sufi Mystics loved Indian music and adopted it for their religious
practices thus creating a new form Sufi Music. Many Indian and non-Indian cultures took an active part in this
transformation.

The advent of Islam at the end of the 12th century brought Persian music and culture with it.
Amir Khusro was a poet in the Delhi Sultanate. He is credited with inventing qawali, qasida, qalbana, naqsh and many
others forms of music. The Zeelaph and Sarparda Raagas are also associated with Amir Khusro. Between 1265 and 1325,
Khusro spent time in the courts of as many as ten different Muslim rulers. The number of different patrons that Khusro
had, and the places he worked in, enabled him to get exposed to and assimilate diverse musical influences. Khusro's
Indianisation of the Islamic musical tradition complemented the Hindu tradition.

Sangeet Ratnakar by Shaarangdeva 1210-1247 A.D.

This musicological treatise is so highly regarded that the two important systems of art music in India, Hindustani and
Carnatic, try to trace their basic concepts to it.

Raja Mansingh
Raja Mansingh Tomar of Gwalior (1486-1516 AD) was the driving force behind introducing and consolidating Dhrupad, a
genre of Hindustani music that enjoys esteem even today. Hori and Dhamar have also attained its pride of place because
of his patronage.

The Bhakti movement

This was a devotional movement emphasizing the intense emotional attachment of a devotee towards his personal god.
The term 'Bhakti' is first used around 800 BC in Pali literature. The devotional fervor of the Alwars and the Nayanars, the
saints who lived in South India between the 5th and the 10th centuries, also travelled north. In due course 'Bhakti'
became a widespread Hindu religious movement and way of life, inspiring copious volumes of superb religious poetry
and art.

The 'Bhakti' cult spread to the north in the 14th and 15th centuries, where it resonated with the Rama and Krishna
devotional cults. Theoreticians like Ramanujacharya and Ramananda and saint-poets like Kabir and Tulsidas belonged to
the Rama tradition. Vallabhacharya and his contemporary Sri Chaitanya spearheaded two separate Krishna cults in the
17th century. The Vallabha cult directly contributed to the theory and practice of music. This impacted Hindustani Art
Music as well through Ashtachap, Pushti and Haveli sangeet.

Ashtachhap, Pushti and Haveli sangeet

Vallabhacharya propounded the Shuddhadvaita Vedanta (pure non-dualism) or Pushtimarga (the road to grace). His sect
was known as the 'Rudra Sampradaya'. The Vallabhacharya cult revived an older stream of music. The religious and
musical procedures of the cult were systematized by Vallabhacharya's son Goswami Vitthalnathji (1516-1698 AD). The
'Ashtachap' stream of music was thus established (1607-8 AD). It was named after the eight musical acharyas or
preceptors who composed the music of the cult. The legendary Tansen too came under its influence. The eight
Ashtachhap poets were: Surdas, Chaturbhujdas, Krishnadas, Govindadas, Kumbhandas, Paramanandadas, Chhitswami
and Nandadas.
'Haveli sangeet' was the temple music practiced by the 'Pushti Margi Sampradaya'. Nathadwara in Rajasthan was the
main seat of this Vaishnava devotional cult. The cult has created a rich historical tradition of temple-based music
described as 'Haveli sangeet'. 'Haveli' is a temple visualized as a palace that the deity chooses to live in. The musical
history of the post-Ashtachap period of Pushti-sangeet coexists with many developments in Hindustani Art Music The

5
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
advent of the Dhrupad, Khayal and Tappa, the dissociation of dance from music, and the shift from the pakhawaj to the
tabla, all happened during this period.

The Modern Period

Music in India, and especially art music, went through a metamorphosis for four centuries from the sixteenth, to result
in the Hindustani music of today. This modern period saw an increasing number of musicological works in Persian, Urdu,
Hindi and other regional languages, instead of Sanskrit. All these tell us the story of how Hindustani Art Music, as we
know it today, evolved and took shape.

From the beginning of the nineteenth century many Indian scholars began to publish material on Hindustani music in
English as well as in regional languages. This was a welcome addition to the works of the early British Indologists.

The modern period saw the birth of many of the musical forms dominant today, like Khayal and Thumri.
In the early 20th century, two people revolutionized Indian music: Pandit Vishnu Digambar Paluskar and Pandit Vishnu
Narayana Bhatkhande. Shri V. D. Paluskar (1872-1931 AD) introduced the first music colleges. He gave an entirely new
perspective to the education and propagation of music. It was his efforts that elevated music and musicians in the social
hierarchy!

Gharanas
The term gharana is derived from the Hindi word 'ghar'. This in turn can be traced to the Sanskrit word 'griha', which
means 'family' or 'house'. The gharana concept gained currency only in the nineteenth century when the royal
patronage enjoyed by performers weakened. Performers were then compelled to move to urban centers. To retain their
respective identities, they fell back on the names of the regions they hailed from. Therefore, even today, the names of
many gharanas refer to places. Some of the gharanas well known for singing khayals are: Agra, Gwalior, Patiala, Kirana,
Indore, Mewati, Sahaswan, Bhendibazar and Jaipur.

A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from
one gharana to another. It directly affects the thinking, teaching, performance and appreciation of music. Till today
Gharana system is being followed by all musicians.

6
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
2. Detailed study of Naad, Shruti and Swar
Naad (Sound)
The sound which is spread all over the creation of God is called “Brahmma Naad”. Naad exists in every human being and
it is the medium if all human behaviors. Hence, it is called ‘Brahmma Naad’. Sangeet Ratnakar and Sangeet Darpan –
express this.
The alphabets are pronounced with the help of Naad. These alphabets make words, sentences and language. In this way
Naad is the supreme power over all human activities.

Naad is of two kinds: 1) Ahat Naad. 2) Anahat Naad

Ahat Naad: has originated from human body. The mind is guided by the soul which increases bodily heat and that heat
moves the air within the body upward. When air and heat of body strike together they produce sound. So Naad is the
sound produced by the combination of bodily heat and air.

Ahat Naad is of two kinds: 1) Sound 2) word

Sound – sound is produced by the throat directly without any obstruction in the way. It is the natural voice which is
produced by combination of heat of the body and air.
Word- Word is the combination of sounds modified by different parts of mouth such as lips, teeth, tongue etc. Some of
the sounds are sweet to hear, but some are not. In music we are concerned with the sound which is sweet, pleasing to
the ears.

Musical sound can be distinguished in three ways: 1) Magnitude 2) Timbre and 3) Pitch
The Magnitude of the sound means the force at which it is coming out of the mouth. It may be light or heavy on the
same note.

The Timbre of the sound means whether the sound is the characteristic quality of vocal (male-female), instrumental
music or by some bird or animals.
The Pitch if the sound means the point from which the sound is produced. That means the Octaves – mandra, Madhya
or Taar.

Anahat Naad: According to general belief Anahat naad is out of the power of hearing, hence it is not included in musical
studies, but, on the basis of Vedas, the Anahat Naad is directly related to the heart. Every type of ideas which produce
different kinds of tunes and Raagas come out from the heart. When it is expressed in the form of a tune or a Raag it is
called Ahat Naad. It means Anahat Naad is the root of the origin of Music. This Anahat Naad is very essential in Indian
music, for the badhat of raag, as it needs lots of imagination power. To imagine the Raagas development Anahat Naad
plays a vital role.
It is said that Anahat Naad is neither heard through ears nor can anybody interrupt it. That can be experienced by the
yogis at the time of Sadhana and Samadhi. That is why Music is subject of Sadhana.

Shruti
Shruti is a Sanskrit word which means to hear or heard. It is originated form Naad. Music literature describes 22 Shrutis.
The word “Shruti” has been defined as the small sound which can easily be heard and can clearly be recognized. They
are very minutely demarcated from one another. They are kind of swars. The Shrutis which are clearly pronounced by
giving greater pauses take the shape of swars. The sound can be heard is called the Shruti. Shruti is not different from
swars. They are closely connected. All Shrutis are converted into swars in Raag.
7
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
We already know about the 22 Shrutis. The names were described by Sharangdev and the placing of notes in modern
times has been done by Pt. V.N. Bhatkhande. But, modern musicians are using 24 Shrutis. The notes of the scale by Shri
Bhatkhande are fixed on the first Shruti, which does not suit the musicians.

The names of the Shrutis are same as old scale system and every note is fixed on the last Shruti.
The two Shrutis which have been added to the old system have been placed where there was no shruti interval, for
example the first Shruti is between Sa and komal Re and the other in between Pa nad komal Dha. The names of the
Shrutis have been taken form Shrutis described by Narada. The Shruti between Sa and komal Re is called ‘Sika’ and
between Pa and komal Dha is called ‘Shantha’.

So this chart below will explain three kinds of placing of the Swars on to the Shrutis:

Shruti Name of 22 Shrutis Old scale of Modern scale of New scale of 24 Name of 24 Shruti
No. 22 Shrutis 22 Shrutis Shrutis Shrutis No.
1 Tivra Sa Tivra 1
2 Kumudvati Ni Shuddha Ni Shuddha Kumudvati 2
3 Manda Re Komal Manda 3
4 Chhandovati Sa Sa Chhandovati 4
5 Dayavati Re Komal Re Shuddha Sika 5
6 Ranjani Re Komal Dayavati 6
7 Raktika Re Shuddha Ga Komal Ranjini 7
8 Roudri Ga Shuddha Re Shuddha Raktika 8
9 Krodhi G Komal Roudri 9
10 Vajrika Ma Shuddha Ga Komal Krodhi 10
11 Prasarni G Shuddha Vajrika 11
12 Preeti Ma Tivra Ga Shuddha Prasarini 12
13 Marjini M Shuddha Preeti 13
14 Kshiti Pa Ma Shuddha Marjini 14
15 Rakta M Tivra Kshiti 15
16 Sandeepini Dha Komal Ma Tivra Rakta 16
17 Alapini Pa Sandeepini 17
18 Madanti Dha Komal Dha Shuddha Pa Alapini 18
19 Rohini Shantha 19
20 Ramya Dha Shuddha Ni Komal Dha Komal Madanti 20
21 Ugra Ni Shuddha Rohini 21
22 Kshobhini Ni Komal Dha Shuddha Ramya 22
23 Ugra 23
24 Ni Komal Kshobhini 24

Swar
The delicate, pleasing, attractive sound is called Swar. The Swaras have been taken from Shrutis. Shrutis have been
divided into 7 Swaras. To avoid the difficulty of pronouncing them with their whole name, only the first letter is the
representative symbol of the respective notes just as:
Shadaj – Sa; Rishabh –Re; Gandhar – Ga; Madhyam – Ma; Pancham – Pa; Dhaivat – Dha; Nishad – Ni
The positions of the notes on Shrutis are given before.

8
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
Swars are of Two types: 1) Avikari or Achal; 2) Vikari or Chal

Avikari or Achal Swaras are the notes where there is no possibility of any change or distortion. Sa and Pa are the Avikari
Notes. They cannot be converted to half or sharp notes.
Shadaj, Sa is the basic note for the other notes as all the seven notes of octave starts form Shadaj and it is not prohibited
in any of the Raag. Hence, this note is fixed.
Pancham, Pa is undistorted due to two reasons:
a) The sound of Pancham is one and a half times higher than Shadaj; hence it can harmonize the sound of Shadaj,
i.e. supreme and the helper note.
b) If an octave is divided into two parts i.e. Sa Re Ga Ma and Pa Dha Ni Sa, then Sa is the starting Swar of the first
part and Pa is the starting note of the second part. Hence Pa is the undistorted note like SA.
On the basis of these two parts of one octave starting with an Avikari Swar, they are called Purvanga and
Uttaranga respectively.

Vikari or Chal Swars are the notes where there is a possibility of distortion. They can be converted into half or sharp
notes. The distorted notes in an octave are five. Out of these five Re, Ga, Dha and Ni has the form of Komal (half tone
notes) and Ma has the form of Tivra (sharp tone note).

In old times the distorted notes were used in many forms such as Ga, Antar Ga, Kaoshiki Ni, Kakali ni, Tivratara &
Tivratama notes and Ati Komal notes etc. But now-a-days only these three types Shuddha, Komal and Tivra Swaras are
popular.

The nature, color and the characteristics of the notes have been described in our music literature. It is very essential for
musicians to understand these characteristic features of the notes. Without the proper knowledge of these Swaras, one
cannot reach perfection of Raagas. Notes are human in their nature. They are descended from heavenly bodies. The
Swaras are produced from various parts of the body. Each Swar has its own mood. Combinations of Swaras are sung in
special season of the year and hour of the day to create desired effect.

The evolution of notes kept pace with the gradual development of speaking power of man. The formation of present
notes had to pass through various stages.

First of all one note came into existence for musical expressions as we find in many Vedic Granthas.
This one note took two shapes:
a) Tan Swara – It was used at the time of Pranayam. This contained one Shruti.
b) Pravachan Swara – It means the Pronunciation of words in systematic form. It contains 3 Shrutis but does not
have much fluctuation in sound. Aarish Patha is pronounced by Pravachan Swar.
c) I did not understand the above sentence, i.e. “Aarish Patha is pronounced by Pravachan Swar”.

After this period came two notes named Udatta and Anudatta. Udatta means high pitch and Anudatta means low pitch.
These Two notes remained in practice for a long period, but they faced difficulty in demarcating the sound between
upper and lower octaves to clarify the medium sound.

To solve this difficulty the Third note was added and it was called as Swarit.
Udatta is recited in high pitch, Anudatta was recited in lower pitch and Swarit note denotes the combination of udatta
and Anudatta.

These three notes continued to be in practice for a very long time, but, in Swarit also musicians faced a difficulty. It did
not produce any peculiarity of its own.

9
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
This difficulty was removed by introducing the Fourth Note, the Prachya note. Prachya is a without any combination of
Udatta and Anudatta and was placed in the middle of swarit. This was one Shruti note.
After the evolution of Udatta, Anudatta, Swarit and Prachya the Fifth Note came in practice. It was called Nidhata.

After the formation of above five notes, we find the description of seven notes in Vedic literature. These Seven Notes
are: Udatta, Udattara, Anudatta, Anudattar, Swarit, Swarit in the beginning of Udatta and One Shruti note. These notes
after it became as Kurshta, Prathama, Dwitiya, tritiya, Chaturtha, Mandra and Attiswara.

Afterwards these notes were named as Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad before the
time of Panini. An ancient book has shown the correlations between these notes.
The names of the seven notes have been given on the basis of 18 Jatis which were popular before the time on Panini.
They have been described by Bharat in “Bharat Natya Shastra”.

In “Sangeet Ratnakar” the sound of seven notes has been described along with the names of the notes, their colors,
Gods and also the names of birds and animals whose sound resemble with the sound of the note. Also which note
resembles the sound of what human age, was described.

The chart below explains the above discussion:

First Old Placing of Jaati God Color Biographi Age Season

Notes names of present cal sound resemblance
the Notes form of
Swaras &
their
frequencies
Anudttar Tritya Sa (240) Sadajee Fire Pink Peacock 70 Cold and
moist
Anudatta Dwitiya Re(270) Arshivhi Brahma Green Papiya 60 Cold and
dry
Udattar Prathama Ga (288) Gandhari Saraswati Orange Goat 50 Cold and
moist
Udatta Krushta Ma(320) Madhya Shiv Purple Crane 40 Hot and dry
ma
One Shruti Attiswara Pa (360) Pancham Lakshmi Red Koel 30 ---
i
Swarit in Mandra Dha(405) Dhaivati Ganesh Yellow Snake 20 Hot and
the cold
beginning
of Udatta
Swarit Chaturtha Ni (432) Pancham Sun Black Elephant 10 Cold and
i Dry

10
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
3. 40 Basic Principles of Hindustani Music
Hindusthaani music style/concept (paddhati) in comparison to Karnaatakee (South Indian) music paddhati possesses its
own unique traits. It is due to these special traits or principles that Hindusthaani music padhati is widely accepted and
adapted throughout India (Bhaarat) with the exceptions of Maisoor, Chennai and Karnataka. This style is based on some
basic principles. Music students should follow and incorporate these principles. Pandit Bhatkhande has included detailed
description of these principles in Part 5 of 'Kramik Pustak Maalikaa'.

The following principles are based on the aforesaid description.

1. H M Style (North Indian) at its foundation has the principle that the Bilaaval Thaat is Shuddha Thaat, i.e. the
Bilaaval Thaat has all the Shuddha Notes (Major scale).
2. All Raagas fall under one of the following three groups: 1) Audav (Raag with 5 notes) 2) Shaadav (Raag with 6
notes) 3) Sampoorna (Raag with 7 notes).
3. No Raag can have less than 5 notes or more than 7 notes (A 'note' could be in its major, minor or both forms).
Exception to this rule is Raaga Bhavaanee.
4. The Aaroha and Avaroha could be the same or differ in being Audav, Shaadav or Sampoorna, thus giving 9
combinations. This is described in the Audav-Shaadav-Bheda section of this book.
5. Every Raag has Thaat, Aaroha-Avaroha, Vaadee-Samvaadee, Prahar and a Mood.
6. The Vaadee and Samvaadee differ by 4 notes. If Vaadee is in Poorvaang, Samvaadee is in Uttaraang. Similarly, if
Vaadee is in Uttaraang, Samvaadee is in Poorvaang.
7. By changing the Vaadee note of a Raag to be performed in the evening, it can be made into a Raag to be
performed in the morning.
8. Rarely, in order to bring out the beauty in a Raaga, Varjit notes could be used.
9. Every Raag has a Vaadee note, which has a prominent position in the Raag. Based on the Vaadee note, a Raag
can be indentified as Poorva Raag or Uttar Raag.
10. The Raagas can be roughly divided into 3 categories:
a) Raagas with Komal Re and Dha
b) Raagas with Shuddha Re and Dha
c) Raagas with Komal Ga and Ni.
11. The Sandheeprakaash Raagas performed during sunset or sunrise, mostly fall under the first category. In early
morning Sandheeprakaash Raagas, mostly Re and Dha are not Varja or absent and the evening
Sandheeprakaash Raagas mostly Ga and Ni are not Varja or absent.
12. Madhyam or Ma note is very important. It is called 'Adhvadarshak Svar' because it dictates if a Raaga is
performed during Day time or Night time.
13. Those Raagas with Komal Ga-Ni are performed during afternoon or mid-night.
11
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
14. After Sandheeprakaash Raagas, the Raagas with Shuddha Re-Ma-Dha-Ni are performed. The notes Sa, Ma and
Pa have greater significance in the day time Raagas and third Prahar (late night) Raagas.
15. Teevra Ma is mostly predominant in the Night time Raagas and is very rare in the day time Raagas.
16. The notes Sa and Ma/Pa are present in Poorvaang as well as Uttaraang of a Raaga. One of these notes is its
Vaadee note; if the Raaga is Sarvakaaleen (can be performed at any time).
17. Every Raaga has at least one if not both Ma and Pa. No Raaga has both Ma and Pa as Varja.
18. Every Raaga must have the note Sa.
19. As a rule, most of the Raagas cannot have 2 forms of a note (Komal and Teevra of a note) together. Exceptions
to this are Raagas like Lalit etc.
20. A Raaga creates its best effect when sung during its given time. However, this rule can be overlooked during
Darbaar or concerts, while teaching or on special occasions where the bandeesh is very appropriate to the
occasion.
21. Raagas which have Teevra Ma, very rarely also have komal Ni.
22. Raagas which include both Madhyams sound very similar. The differences between the Raagas are present only
in the Aaroha where as the Antaraas are similar.
23. Night Raagas that have both forms (Komal and Teevra) of the Madhyam note in general follow the following
rule: Shuddha Madhyam appears in both Aaroha and Avaroha, while Teevra Madhyam appears only in Aaroha.
There is rarely a thaat based in Raagas with both Madhyams.
24. As a rule, Raagas performed during the first part of the night time, have Vakra Nishaad (the note is used only
with typical phrases of notes) in the Aaroha and Gandhaar note Vakra in Avaroha. These Raagas also use Nishad
rarely in Avaroha.
25. In Hindusthaani style of Music, more emphasis is given to Raaga rather than Taal, as opposed to Karnaatakee
style of music, where there is more emphasis on Taal.
26. Poorva Raagas get defined mainly in the Aaroha and Uttar Raagas make their impact through the Avaroha.
27. Every Thaat can produce Poorva Raag or Uttar Raag.
28. In Gambheer prakriti Raagas (Raagas creating profound and deep feelings) Shadja, Madhyam or Pancham are
very important, more so in Mandra saptak (lower octave).
29. Sandheeprakaash Raagas are docile and peaceful in nature, Raagas with Re-Ga-Dha as Teevra are sensual or
joyful in nature, and Raagas with Ga-Ni as komal are courageous, bold, and audacious in nature.
30. During transitioning from one thaat to another that, paramela praveshika Raagas are performed.
31. Sandheeprakaash Raagas are performed during sunset or sunrise. After these are performed, those Raagas with
shuddha Re-Ga-Dha or Raagas with komal Ga-Ni are performed.
32. Raagas which have komal Ni like Raagas from the thaat of Kaafee and Khamaaj sometimes can include shuddha
Ni in the Aaroha.
12
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
33. Notes in a Raaga have less, more or equal prominence, thus defined for the Raaga as being Durbal, Prabal or
Sama respectively. Note: Durbal does not mean Varjit.
34. 2, 3 or 4 notes together form a taan but not a Raaga.
35. Raagas performed after noon time or after midnight show a prominence of Sa-Ma-Pa.
36. In the Aaroha of afternoon Raagas, Re and Dha notes are either absent or are durbal or less prominent.
37. The Raagas with Sa, Ma or Pa notes as Vaadee are mainly Gambheer Raagas.
38. Early morning Raagas show a prominence of Re-Dha and evening Raagas show a prominence of Teevra Dha-Ni.
39. The notes Ni-Sa-(komal) Re-Ga taken together strongly suggest Sandheeprakaash Raaga.
40. Poorva Raagas form or nature is well defined from its Aaroha and Uttar Raagas form is well defined in its
Avaroha.

13
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
4. Detailed Study of your own Gharana System
Khayal music is represented by a number of stylistically different schools called Gharanas. These schools have their basis
in the traditional mode of musical training and education. Every Gharana has a few discernible features, which allow us
to distinguish between schools and also enable us to identify different approaches to interpretation of the Raagas.

Hindustani Music has continued to grow in richness, style and content, giving each gharana a distinctive style. One such
gharana is the Mewati Gharana, which was founded by Ustad Ghagge Nazir Khan Sahab (1830-1904; death in Bhopal)
who hails from the Mewat region of Rajasthan. Ustad Ghagge Nazir Khan Sahab had two main disciples – Pandit
Nathulal-ji and Pandit Chinmanlal-ji. Pandit Nathuram-ji’s nephew was Pandit Motiram-ji, father of our Pujya Guruji,
Pandit Jasraj-ji. Guruji learnt from his elder brother, Pandit Maniram-ji, and is considered the prime moving force
behind the Mewati Gharana today. (This chart is a Gharana chart and not a family chart)

Ustad Ghagge Nazir Khan

Pandit Chinmanlal Pandit Natthulal Ustad Munavar Ali Khan

(Adopted son and disciple of Ustad Ghagge Nazir Khan)

Pandit Motiram Ustad Gulam Quadir Khan

(Adopted son and disciple of Ustad Munavar Ali Khan)

Pandit Jyotiram Pandit Maniram Pandit Pratapnarayan

Puranchandra Pandit Jasraj Maharaja Jaswant Singhji Waghela of Sanand

1 . . . . . . . . . . . . . . . . . . 12

14
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
1 – 12 mentioned below. The names of disciples of Pandit Jasraj ji are not organized in any particular order.

1 = Girish Vazalwar 2 = Chandrashekhar Swamy

3 = Mukesh Desai 4 = Rattan Mohan Sharma

5 = Sanjeev Abhyankar 6 = Tripti Mukherjee

7 = Gargi Siddhant 8 = Marina Alam

9 = Pritam Bhattacharya 10 = Ramesh Narayan

11 = Suman Ghosh 12 = Radharaman Kirtane

The perfect blend of the opulent and classic elements characterizes the Mewati Gharana. The distinct features of the
gharana include the use of the Sapaat tan (straight vocal inflection) and the use of Merkhand (intricacy and
unpredictability of sargams). The gharana lays a heavy emphasis on Bhav, bringing out the emotional content of the
Raag; the mood of the Raag is unearthed in its entirety. Great emphasis is also laid on the clarity of diction of the lyrical
content of the composition. Another characteristic feature of this Gayaki is the use of Murchannas, which involves a
modal shift or change in Raag tone, in course of Raag vistaar (exposition and interpretation).

As the gayaki style of Mewati Gharana is primarily Bhav-pradhaaan, the embellishments and structure of the
performance are geared towards ensuring continuity. A composition when presented as per the Mewati style starts with
bol aalap instead of aalap in aakar (usually with the bol – “Om Shri Ananta Hari Narayana”). It then continues with the
Mukhada (opening verse) and Sthai (first stanza of the composition). Subsequent stages expound the use of Layakari
and Taans, especially those with gamak and sapaat tans.

The Mewati Gharana also includes semi-classical forms such as Bhajans and Haveli Sangeet within its repertoire, where
the lyrical quality that is the quintessence of the Mewati style creates an unparalleled devotional ambience.

Mewati Family Dynasty/Lineage

Ustad Ghagge Nazir Khan Sahab - Founder of Mewati Gharana (1825-1904)

Dada Pandit Nathulal ji - First disciple of Ustad. G.N.Khan Sahab (1870-1908)

Dada Pandit Chilmanlalji – First disciple of Ustad G.N. Khan Sahab (1872-1894)

Sangeet Ratna Pandit Jyotiram ji - Younger brother of Pt. Motiram ji (1900-1944)

Sangeet Ratna Pandit Motiram ji - Father of Pt. Jasraj ji (1889-1934)

Maharana Jaywant Singh ji Vaghela - Maharaja of Sanand, spiritual Guru of Pt. Jasraj ji (1904-1980)

Maa Smt.Krishnabhai Pandit Motiram - Mother of Pt. Jasraj ji (1896-1957)

Sangeet Mahamahopadhyaya Pandit Maniram ji - Guru & elder brother of Pt. Jasraj ji (1910-1985)

Sangeet Acharya Pandit Pratapnarayan ji - Elder brother of Pt. Jasraj ji (1918-2002)

15
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
5.Raag-Parichay

Raag Khamaj

Dou nishaad Ni ke lage, aarohi Re haani

Ga-Ni vaadi samvaadi te, Khamaj hi pahachaani

Thaat - Khamaj
Jaati - Shaadhav-Sampoorna
Aaroh - Sa, Ga Ma, Pa Dha Ni Sa
Avroh - Sa Ni Dha Pa, Ma Ga, Re Sa
Vaadi - Gandhaar
Samvaadi - Nishaad
Time - Second half of the night ( Raatri ka doosara prahar)
Pakad - Ni Dha, Ma Pa, Dha, Ma Ga
Mood - Shringar Rasa, Joyous.

Special characteristics

Raag Khamaj is one of the more popular raags in Hindustani music. Although it has immerged from Khamaj Thaat, it is
not the ‘Ashray Raag’ or defining raag of this thaat since the jati is Shaadhav-Sampoorna. (The Ashray raag of Khamaj
thaat is Jhinjhoti.) Rishabh or Re is omitted /varjya in aaroh of Raag Khamaj. This raag is often sung or played with
Shuddha Nishaad in Avaroh as ‘Mishra Khamaj’, especially as a ‘dhun’ in instrumental music. Since the nature of this raag
is playful and joyous, it is particularly used for rendering ‘Thumaris’, a form of light classical music. A lot of folk tunes are
based on this raag. The well-known bhajan ‘Vaishnava Janato Tene Re Kahiye’ is based on Raag Khamaj.

Raag Bhairavi

Komal saba hi sur bhale, madhyam vaadi bakhaan,

Shadaj jahaan samvaadi hai, tehi Bhairavi jaan

Thaat - Bhairavi
Jaati - Sampoorna
Aaroh - Sa, Re Ga Ma, Pa Dha, Ni Sa
Avroh - Sa, Ni Dha Pa, Ma Ga, Re Sa
Vaadi - Madhyam
Samvaadi - Shadaj
Time - Early morning/( Din ka pratham prahar)
Pakad - Ma, Ga, Sa Re Sa, Dha Ni Sa.
Mood - Karun Rasa, Serious yet peaceful.

16
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
Special characteristics

Raag Bhairavi is called the queen of all the raags/raaginis. It is an ‘Ashray Raag’ or defining raag of Bhairavi Thaat.
Although Shuddha Re, Ga, Dha, and Ni are considered the ‘Vivadi Swars’, they are sometimes used in a peculiar way to
embellish the raag. It has the same swaras/notes as that of Raag Bilaskhani Todi, but the ‘chalan’ is very different from
Raag Bhairavi. Typically, a Hindustani classical concert is concluded with a rendition in Raag Bhairavi.

Raag Vrindavani Sarang

Jab teekho hi Nikhaad hai,chadhate Dhaivat naahi,

Tab yaha Saarang raagahi, Brindavani kahaai

Thaat - Kafi
Jaati - Audhav
Aaroh - Ni Sa, Re, Ma Pa, Ni Sa
Avroh - Sa Ni Pa, Ma Re, Sa
Vaadi - Rishabh
Samvaadi - Pancham
Time - Noon ( Madhyanah)
Pakad - Ni Sa Re, Ma Re, Pa Ma Re, Sa
Mood - Shringar Rasa, Mystic

Special characteristics:

Brindavani Sarang or Vrindavani Sarang is believed to have originated and acquired its name from the holy town of
Vrindavan in Uttar Pradesh. However, this is just a belief. ‘SaranAng’ is one of the most important ‘RaagAngs’ in
Hindustani classical music because if its’ characteristic of Ga and Dha ‘varjit’ and Re and Pa being prominent. Sometimes,
Dha is used cautiously as a grace note to add beauty to the raag. This Raag is similar to Madhmad Sarang where just the
komal Nishaad is used. Raag Vrindavani Saarang is widely used in Haveli Sangeet, Dhrupad and Dhamar.

Raag Durga

Ma-Sa Vaadi Samvaadi lakhi, Ga-Ni sur varjit maan,

Tabahi Bilawal mel ki, Durga le pehechan

Thaat - Bilawal
Jaati - Audhav
Aaroh - Sa Re Ma Pa Dha Sa
Avroh - Sa Dha Pa Ma Re Sa
Vaadi - Madhyam
Samvaadi - Shadaj
Time - Second Half of the night ( Raatri ka doosara prahar)
Pakad - Pa, Ma pa , Dha Ma Re, Dha Sa.
Mood - Shringar Rasa

17
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
Special characteristics:

Raag Durga is a ‘Purvang-vaadi’ raag, where the lower notes of the octave/saptak are used frequently. Gandhar and
Nidhaad are omitted varjya and Pancham is the ‘anuvaadi’ swar or the third important swar after Madhyam and Shadaj.
The set of Dha-Ma, Re-Pa, and Re-Dha are very important as it displays the personality of this raag. Another variation of
Raag Durga is also sung/played which has originated from Khamaj Thaat and follow the basis of ‘Khamaj-Ang.’

Raag Des

Vaadi Re, Samvaadi Pa, dou Nishaad lag jay

Audav-Sampoorana sughar, Des raag ko gaay

Thaat - Khamaj
Jaati - Audav - Sampurna
Aaroh - Sa Re Ma Pa Ni Sa
Avroh - Sa Ni Dha Pa Ma Ga Re Ga Ni Sa.
Vaadi - Rishabh
Samvaadi- Pancham
Time - First quarter of the night
Pakad - Re Ma Pa Ni, Sa Re, Ni Dha Pa, Ma Ga Re.
Mood - Light, Romantic

Special characteristics

Des, like Raag Khamaj, is a kshudra prakriti Raag – relatively lighter in nature. Much of the expression of Raag Des takes
place in musical forms such Thumri, Hori, Tappa, Dadra, Geet, Bhajan and so on. Des is an enigmatic Raag - it can sound
light and romantic, and very serene and compassionate, all at the same time. Komal Gandhaar in Raag Des is considered
vivadi, but is used once in a while, usually in tar-saptak.
The patriotic masterpiece Vande Mataram is set to the tunes of Raag Des – incidentally meaning Nation or Country.

Raag Bhimpalasi

Jab Kafi ke mel may,chadhate Re-Dha ko tyaag,

Ga-Ni komal, samvaad Ma-Sa, Bhimpalasi raag.

Thaat - Kafi
Jaati - Audav - Sampurna
Aaroh - Ni Sa Ga Ma Pa Ni Sa
Avroh - Sa Ni Dha Pa Ma Ga Re Sa.
Vaadi - Madhyam
Samvaadi- Shadaj
Time - Late afternoon
Pakad - Ni Sa Ga Ma Pa Ga, Ma Ga Re Ni Sa.

18
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
Mood - Tender, suppressed longing.

Special Characteristics

Bhimpalasi penetrates into genres outside pure classical through numerous folk, film, stage and devotional songs.
Bhimpalasi is a versatile Raag, its appeal crossing many genres while still maintaining its essential identity as a melody
colored by many shades of emotions – it has a deep and layered character, imbued with shades of tranquility – at time
robust. Though Rishabh and Dhaivat are omitted in the aroha phrases, they are given due weight in the avaroha phrases,
and not treated as passing notes. Similar Raags in Kafi Thaat include Dhani and Patdeep. Traditional and modern
compositions abound in Bhimpalasi. Dhrupads, dhamars, khayal, bhajans, abhangs, and Marathi natyageet have all
featured the Raag.

Raag Jaunpuri

Komal Ga-Dha-Ni sur kahe, aahrohi Ga haani,

Vaadi Dha, samvaadi Ga,Jaunpuri pehachani.

Thaat - Asavari
Jaati - Shadav - Sampurna
Aaroh - Sa Re Ma Pa Dha Ni Sa
Avroh - Sa Ni Dha Pa Ma Ga Re Sa
Vaadi - Dhaivat
Samvaadi- Gandhar
Time - Late morning
Pakad - Ma Pa, Ni Dha Pa, Dha Ni – Ma Pa Ga, Re Ma Pa
Mood - light, gaiety

Special Characteristics

Jaunpuri represents one of the primary Raags of Asavari thaat, which tend to be very expressive and emotional. It is an
Uttaranga pradhan Raag, emphasizing the upper notes of the octave.
This Raag is very close in spirit and substance to the Rishab-only Asavari so much so that some musicians (for instance,
Omkarnath Thakur) do not acknowledge any difference between the two. In recent times Jaunpuri's dominance on the
concert stage has virtually extinguished the shuddha rishab Asavari. A widely accepted point of departure in Jaunpuri
concerns the komal Nishad in Arohi sanchaaris. Whereas in Asavari Nishad is skipped en route to the Shadaj - that
stipulation is relaxed in Jaunpuri. Raag Jaunpuri is often rendered with a lightness of touch in contrast to the solemn
Asavari.

19
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
Raag Puriya Dhanashree

Madhyam teevra lagaaykar,Re-Dha komal maan,

Raag Puriya Dhanashree, Pa-Re samvaad bakhaan.

Thaat - Purvi
Jaati - Audav - Sampurna
Aaroh - Ni Re Ga Ma(Tivra) Pa Dha Ni Sa
Avroh - Re Ni Dha Pa, Ma(Tivra) Ga, Ma(Tivra) Re Ga Re Sa
Vaadi - Pancham
Samvaadi- Rishabh
Time - Dusk
Pakad - Ni Re Ga, Ma(Tivra) Pa, Ma(Tivra) Dha Pa, Ma(Tivra) Ga Ma(Tivra) Re
Ga Dha Ma(Tivra) Ga Re Sa
Mood - solemn, compassionate

Special Characteristics

This Sandhi Prakash Raag and its structure is very close to that of Raag Purvi. Raag Purvi, however, employs both the
Madhyams. Therefore in order to differentiate between the two, shudhha madhyam is often used in Raag Purvi unlike
the tivra madhayam that is emphasized in Raag Puriya Dhanashree.
It is hard to classify the emotional character of this Raag as it varies from the transition of one note to another. The
sobriety of its scale makes it very emotional in character. It is embellished with the raudra and bhayanaka or the
wrathful and the fearsome while using the dhaivat, madhyam and the rishabh but it also contains the karuna or
compassionate characteristic while using the nishad. Every transition in this Raag captures a different rasa or emotion
and it stands as an example of how classical Indian music is highly dependent upon emotions.

20
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
6. Taal

For Prabuddha level, Addha, Sitarkhani, Roopak, Chautal, Dhamar, Deepchandi, Panjabi, Teevra, Ekwai, Jhumra, Ada
Chautal, Sultal, Sulfakta are included, in addition to Teentaal, Ektaal, Jhaptaal, Kaherwa, Bhajni Kaherwa and Dadra.

1. Teental – Beats – 16; Division – 4 | 4 | 4 | 4

X 2 0 3 X
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Na Tin Tin Ta | Ta Dhin Dhin Dha | Dha

2. Ektal – Beats – 12; Division – 2 | 2 | 2 | 2 | 2 | 2

X 0 2 0 3 4 X
Dhin Dhin | Dhage Tirkit | Thun Na | Kat Ta | Dhage Tirkit | Dhi Na | Dhin

There is also a ‘trimatrik’ version of Ektal – Beats – 12; Division – 3 | 3 | 3 | 3

X 2 0 3 X
Dhin Dhin Dhage | Tirkit Thun Na | Kat Ta Dhage | Tirkit Dhi Na | Dhin

3. Jhaptal – Beats – 10; Division – 2 | 3 | 2 | 3

X 2 0 3 X
Dhin Na | Dhin Dhin Na | Tin Na | Dhin Dhin Na | Dhin

4. Kaherwa – Beats – 8; Division – 4 | 4

X 0 X
Dha Ge Na Ti | Na Ka Dhi Na | Dha

5. Bhajni Kaherwa – Beats – 8; Division – 4 | 4

X 0 X
Dhin NaDhin -Dhi Nana | Tin NaTin -Ti Nana | Dhin

6. Dadra – Beats – 6; Division – 3 | 3

X 0 X
Dha Dhin Na | Na Tin Na | Dha

7. Rupak – Beats – 7; Division – 3 | 2 | 2

0 1 2 0
Tin Tin Na | Dhin Na | Dhin Na | Tin

8. Teevra / Tewra – Beats – 7; Division – 3 | 2 | 2

X 2 3 X
Dha Den Ta | Tit Kata | Gadi Ghan | Dha

Alternate version in Dhrupad ang

21
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
 X 2 3 X
Dha Ghere Naga | Ga Di | Ghere Naga | Dha
Alternate version in Khayal ang (in many songs the Dhrupad ang theka feels too heavy. That is when the Khayal ang
theka seems more appropriate and becomes useful.)
X 2 3 X
Dhi Dhi na | dhi na | dhi na | Dhi

9. Deepchandi – Beats – 14; Division – 3 | 4 | 3 | 4

X 2 0 3 X
Dha Dhin - | Dha Dha Tin - | Na Tin - | Dha Dha Dhin - | Dha

10. Addha – Beats – 16; Division – 4 | 4 | 4 | 4

X 2 0 3 X
Dha Dhin – Dha | Dha Dhin – Dha | Na Tin – Ta | Ta Dhin – Dha | Dha

11. Sitarkhani – Beats – 16; Division – 4 | 4 | 4 | 4

X 2 0 3 X
Dha -Dhin -- Dha | Dha -Dhin -- Dha | Na -Tin -- Ta | Ta -Dhin -- Dha | Dha

12. Panjabi – Beats – 16; Division – 4 | 4 | 4 | 4

X 2 0 3 X
Dha- -Dhi -Ka Dha- | Dha -Dhi -Ka Dha | Ta -Ti -Ka Ta | Dhage NaDhi -Ka Dha | Dha

13. Ekwai /Ara Theka– 16 beats ; Division – 4 | 4 | 4 | 4

X 2 0 3 X
Dha Dhin -kre Dhin | Dha Dhin -kre Dhin | na Tin -kre Tin | Ta Dhin -kre Dhin | Dha

14. Chautal – Beats – 14; Division – 2 | 2 | 2 | 2 | 2 | 2

X 0 2 0 3 4 X
Dha Dha | Den Ta | Kit Dha | Den Ta | Tit Kata | Gadi Ghene | Dha

15. Jhumra – Beats – 14; Division – 3 | 4 | 3 | 4

X 2 0 3 X
Dhin -Dha Tirkit | Dhin Dhin Dhaghe Tirkit | Tin -Ta Tirkit | Dhin Dhin Dhaghe Tirkit | Dhin

16. Dhamar – Beats – 14; Division – 5 | 2 | 3 | 4

X 2 0 3 X
Ka Dhi ‘Ta’ Dhi ‘ Ta’ | Dha - | Ga Di Na | Di Na Ta - | Ka
The change from Ta to ‘Ta’ is only to suggest that it should be pronounced differently from ‘Ta’ as it appears
elsewhere.

17. Sultaal – Beats – 10; Division – 2 | 2 | 2 | 2| 2

X 0 2 3 0 X
Dha Dha | Den Ta | Kit Dha | Tit Kata | Gadi Ghan | Dha
22
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
 Aternate version with the same Division and tali-khali
X 0 2 3 0 X
Dha Ghere | Naga Di | Ghere Naga | Ga Di | Ghere Naga | Dha

18. Sulfakta – 10 beats; Division – 4 |2|4 (Surfakta is another version for Sultaal)
X 2 3 X
Dhi Dhi Dha Tirkit | Tu Na | Kat Dhi Dhi Na | Dhi

19. Ada Chautal – Beats – 14; Division – 2 | 2 | 2 | 2 | 2 | 2 | 2

X 2 0 3 0 4 0 X
Dhin Tirkit | Dhin Na | Thun Na | Kat Ta | Tirkit Dhin | Na Dhin | Dhin Na | Dhin

20. Tilwara – Beats - 16; Division – 4 | 4 | 4 | 4

X 2 0 3 X
Dha TirakiTa Dhin Dhin- | Dha Dhage Tin Tin | Ta Tirakita Dhin Dhin- | Dha Dha Dhin Dhin | Dha

21. Gajajhampa – Beats - 15; Division – 4 | 4 | 3 | 4

X 2 0 4 X
Dha Dhin Nak Tak | Dha Dhin Nak Tak | Tin Nak Tak | Tit Kata Gadi Ghan | Dha

22. Jhampa – beats - 10; Division – 2 | 3 | 2 | 3

X 2 0 3 X
Dha – | Dha Ghe Ti | Ta Ti | Dha Ki Ta | Dha

23. Tappa – 16 beats: Division – 4 ( 4 |4 | 4 | 4 )

X 2 0 3 X
Dhi Ta Dhi Dhi | Dhi Ta Dhi – | Dha Ghe Din – | Din Ta Dhi Dhi | Dhi

24. Kawali – 8 beats; Division 2 ( 4 | 4 )

X 2 X
Dha Kat Dha Dhi | Ta Kat Ta Di | Dha

25. Jat – 16 beats; Division – 4 | 4 | 4 | 4

X 2 0 3 X
Dha - Dhin - | Dha Dha Tin - | Na - Tin - | Dha Dha dhin - | Dha

26. Sawari – 16 beats; Division – 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2

X 0 2 0 3 0 4 0
Dha Dha | Dhin Dhin | Dha DhinDhin | DhaDhin DhinDha | Tin-Tirkit Tina | TinaTina katta | Dhin Dhin | DhaDhin
Dhinna | Dha

23
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
27. Pancham Sawari – 15 beats; Division – 3 | 4 | 4 | 4
X 2 0 3 X
Dhi Na Dhidhi | KatTa Dhidhi Nadhi Dhina | Ti--kra Tinna Tirkit Tuna | Katta Dhidhi Nadhi Dhina | Dhi

28. Shikhar – Beats - 17; Division – 4 | 4 | 3 | 2 | 4

X 2 3 0 4 X
Dha Tirkit Dhin Nak | Thun ga Dhin Nak | Dhum Kit Tak | Dhet Dha | Tit Kata Gadi Ghan | Dha

29. Matta – 18 beats ; Division – 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2

X 0 2 3 0 4 5 6 0 X
Dha – | Ghe re | Na Ka | Ghe re | Na Ka | Ti Ta | Ka Ta | Ga Di | Gha Na | Dha

30. Brahma – 14 beats; Divisions – 14 (1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 )

X 0 2 3 0 4 5 6 0 7 8 9 10 0 X
Dha | kat | dhet | Dhin | naka | dhet | Dhet | Dhin | naka | dhage | TiTa | kata | gadi | ghana | Dha

Alternate Version of Brahma – 28 beats Division – 2|2|2|2|2|2|2|2|2|2|2|2|2|2

X 0 2 3 0 4 5 6 0 7
Dha Dhin | Dhin Dha | Tirkit Dhin | Dhin Dha | Tirkit Dhin | Dhin Dha | Ti Ti | Ta Ti | Ti Na | Tu Na |
8 9 10 0 X
Ka Ta | DhaGhe NaDha | Tirkit Dhin | Gadi Ghan | Dha

31. Ganesh – 21 beats ; divisions – 10 ( 4 | 1 | 4 | 1 | 1 | 4 | 1 | 1 | 1 | 3 )

X 2 3 4 5 6 7 8 9 10 X
Dha Dha Den Ta | Kat | Tage Dha Den Ta | Kat | Tit | Ta Dhage Den Ta | tun | na | Tit | Kat Gadi Ghan | Dha

32. Vikram – 12 beats

X 2 0 3 X
Dha – | Dhi Ta – | Ka – Tta | Tit Kata Gadi Ghan | Dha

33. Yatishekhar – 15 beats ; divisions – 10 ( 1 | 2 | 2 | 1 | 1 | 2 | 1 | 1 | 2 | 2 )

X 2 3 4 5 6 7 8 9 10 X
Dha | Tit Dhi | Na Trak | Dhi | Dhi | Na Tit | Dhagi | Nadha | Trak Dhina | Gadi Ghan | Dha

34. Chitra – 15 beats; Division – 5 (2 | 3 | 4 | 4 | 2 | )

X 2 3 4 0 X
Dhi Na | Dhi Dhi Na | Tu Na Kat Ta | Trak Dhi Na Dhi | Dhi Na | Dhi

35. Basant – 9 beats ; Divisions – 9 ( 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 )

X 2 3 4 0 5 0 6 0 X
Dha | Den | Ta | Det | Ta | Tete | Kat | kiTa | taka | Dha

36. Vishnu – 17 beats ; Divisions – 6 ( 4 | 2 | 4 | 2 | 2 | 3 )

X 2 3 4 5 6 X
Dhin Na Dhin Dhin | Na Dhi | Trak Dhin Na Dhin | Dhin Na | Dhin Dhin | Na Dhin Na | Dhin
24
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul
37. Mani – 11 beats; Division – 4 (3 |2 | 3 | 3 )
X 2 3 4 X
Ta Dhi Ta | Ki Ta | Dha Ki Ta | Ta Ki Ta | Ta

38. Rudra – 11 beats ; Division – 4 | 3 | 4

X 0 3 X
Dhi Na Dhi Na | Ta Ti Na | Kat Ta Dhi Na | Dhi

39. Lakshmi – 18 beats; Division – 15 ( 1 | 1 | 2 | 1 | 1 | 2 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 2 )

X 2 0 3 4 5 6 0 7 8 9 10 11 12
Dhin | Dha | Tirkit Tin | Dhin | Tirkit | DhaDha Tin | DhaDha | Tirkit | Dhin | Dha | Dhin | Dhage | Tirkit | dhin |
13 X
dhage Tirkit | Dhin

Alternate version ; Division – 4 | 4 | 4 | 3 | 3

X 2 3 4
Dhin Dha Tirkit Tin | Dhin Tirkit DhaDha Tin | DhaDha Tirkit Dhin Dha | Dhin Dhage Tirkit |
5
dhin dhage Tirkit |

40. Pashto – 7 beats ; Division – 3 | 2 | 2

X 2 3 X
Dhi - ta | Dhin - | ta - | Dhi

41. Fardost - 14 beats ; Division – 2 | 2 | 2 | 2 | 2 | 2 | 2

X 0 2 0 3 4 5 X
Dhin Dhin | Dhaghe Tirkit | Tu Na | Ka Ta | Din kadha | Tirkit Dhin | KaDha Tirkit | Dhin

42. Lofa – 8 beats ; Division – 4 (2 | 2| 2 | 2)

X 2 0 3 X
Dhin Dhin | Trike Dhin | Tin Tin | Treke Dhin | Dhin

43. Khemta – Beats – 12; Division – 3 | 3 | 3 | 3

X 2 0 3 X
Dha Ti Te | Na Dhin Na | Ta Te Dhi | Na Dhi Na | Dha

44. Jaymangal – 13 beats; Division – 4 | 2 | 4 | 3

X 0 3 4 X
Dha Dha Kit Dha | Tit Kat | Ghene Gheta Ghene Kit | Dha Den Ta | Dha

45. Nasrukh – Beats – 9 ; Division – 2 | 2 | 2 | 3

X 2 0 3 X
Dhin Tirkit | Dhi Na | Thu Na | Dhin -Dha Tirkit | Dhin
25
© Copyright 2011: Pandit Jasraj Institute for Music Research, Artistry and Appreciation – the Mewati Gurukul