Vocal Hindustani Grade 7

Vocal Hindustani
GRADE 7
MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology
Vocal Hindustani
Grade 7
Mr. T. Mauree - Director Schooling
Mrs.U.Kowlesser
Dr (Mrs) P. M HungsrazTextbook - Registrar (MGI)
- Senior Lecturer (Vocal),
Head School of Performing Arts, MGI
Mrs. S. Seboruth - Ag. Music Organiser (Oriental)
(M.O.E & H.R,T.E & S.R)
Quality Vetting Team

Mrs.S.Mungur - Associate Professor- MGI (Co-ordinator)
Based on the National Curriculum Framework
Mrs V. Bissessur - Doolooa
Mrs K. Jugurnauth
- Senior Lecturer (Vocal Hindustani) - RTI
- Educator (Vocal Hindustani)-
2016 (M.O.E & H.R,T.E & S.R)
Mrs L. Ramduth - Lecturer 3D Animation & Virtual Reality -
MGI
Mrs.M. Bhujohory - Educator (English) - MGI
MAHATMA GANDHI INSTITUTE

Administrative Staff
under the aegis of the
Mrs.H.Chudoory - Administrative Officer
Ministry of Education, Tertiary Education,
Mrs.V. Gunesie - Executive Officer
Science and Technology.
Miss.S.Jokhoo - Executive Officer
Mrs.K.P.Binda Republic of Mauritius
- Clerical / Higher Clerical Officer
2021
• The parents and their wards for giving us the permission to reproduce their
photographs and images in the textbook.
Mahatma Gandhi Institute (2018)
All rights reserved.No part of this publication may be reproduced, stored in a

retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise, without the prior permission
of the Copyright owner.
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First published 2018

Reprinted 2019
Reprinted 2021
While every effort has been made to trace the copyright holders for reproductions, we
might have not succeeded in some cases. We offer our sincere apologies and hope that
they will take our liberty in good faith. We would appreciate any information that would
enable us to acknowledge the copyright holders in our future editions.
ISBN: 978-99903-39-87-1
i
Performing Arts
(Indian Music and Dance) Panel
Mr. K. Mantadin - Project Co-ordinator
(organisation and development),
Senior Lecturer (Tabla),
Head, Department of Curriculum Development,
Mahatma Gandhi Institute.
Dr A.S. Peruman - Panel Co-ordinator

Senior Lecturer (Vocal Carnatic)
Head, Department of vocal
MGI.
Mr. T. Mauree - Director Schooling
Mrs.U.Kowlesser - Registrar (MGI)
Writing Team
Dr (Mrs) P. M Hungsraz
(Vocal Hindustani)
- Senior Lecturer (Vocal),
Mr S. S. Mungroo - Team LeaderHead School of Performing Arts, MGI
Mrs. S. Seboruth Lecturer- Ag. Music
(Vocal Organiser
Hindustani) (Oriental)
- MGI
(M.O.E & H.R,T.E & S.R)
Mr A. Chuttoo - Educator (Vocal Hindustani) - MGI
Mrs R. Nobin - Educator (Vocal Hindustani) -
Mrs.S.Mungur - Associate Professor- MGI (Co-ordinator)
(M.O.E, T.E, Sc. & Tech.)
Mrs V. Bissessur - Doolooa - Senior Lecturer (Vocal Hindustani) - RTI
VetterMrs K. Jugurnauth - Educator (Vocal Hindustani)-
Mrs A. Jankee - Educator (M.O.E
(Vocal&Hindustani)
H.R,T.E & S.R)
- PSEA
Proof Reading MGI
Mrs A.Mrs.M.
JankeeBhujohory - Educator
- Educator (English) - MGI
(Vocal Hindustani) - PSEA
Graphic Designers
(cover,Administrative
illustration, layout
Staff and photography)
Mr.V.Napaul Miss. W.Buctowar Mr. M.S.K Meyakhan
Miss.D.Jadoo Miss. K.Chinnaiyan
Miss.V.Jatooa Miss B.Chumun
Mrs.K.P.Binda - Clerical / Higher Clerical Officer
Word Processing Operator

Mrs. N. Mugon
ii
Acknowledgements
Mrs S. N Gayan, GOSK, Director General, Mahatma Gandhi Institute and

Rabindranath Tagore Institute, for her continued advocacy for music
education especially Indian Music and Dance.
Dr (Mrs) V Koonjal, Director, Mahatma Gandhi Institute, for her unwavering

support to this project.
The Performing Arts (Indian Music and Dance) panel is also grateful to
the following persons:
Mr. T. Mauree gniloohcS- Director
rotceriD Schooling
- eeruaM .T .rM
Mrs.U.Kowlesser )IGM(- rRegistrar
artsigeR -(MGI) resselwoK.U.srM
Dr (Mrs) P. M Hungsraz
,)lacoV( rerutc-eSenior
L roineSLecturer
- (Vocal),
zarsgnuH M .P )srM( rD
IGM ,strA gnimrofreP fo loohcS daeH
)latneirO( resinagrO c-isAg.
Mrs. S. Seboruth uMMusic
.gA - Organiser (Oriental)
hturobeS .S .srM
)R.S & E.T,R.H & E.O.M(T.E, Sc. & Tech.)
(M.O.E,
Quality Vetting Team maeT gnitteV ytilauQ

)Mrs.S.Mungur
rotanidro-oC( IGM -rosseforP -eAssociate
taicossA - Professor- MGI r(Co-ordinator)
ugnuM.S.srM
ITR V.
Mrs - )iBissessur
natsudniH-laDoolooa
coV( rerutc-eSenior
L roineLecturer
S - aoo(Vocal
looD -Hindustani)
russessiB .V- RTI
srM
-)inatsudniH lacoV(- rEducator
Mrs K. Jugurnauth otacudE -(Vocal Hindustani)-
htuanruguJ .K srM
)R.S & E.T,R.H & E.O.M(T.E, Sc. & Tech.)
(M.O.E,
- ytilaL.eR
Mrs lautriV & noitaminA D3
Ramduth rerutceL 3D
- Lecturer - Animation &hVirtual
tudmaR .L srM-
Reality
MGIIGM
Mrs.M. Bhujohory IGM - )hsilgnE-( Educator
rotacudE (English)
- yrohojuhB .M.srM
- MGI
Administrative Staff ffatS evitartsinimdA

Mrs.H.Chudoory reciffO evita-rtsAdministrative
inimdA - Officer yrooduhC.H.srM
Mrs.V. Gunesie reciffO e-viExecutive
tucexE - Officer eisenuG .V.srM
Miss.S.Jokhoo reciffO e-viExecutive
tucexE - Officer oohkoJ.S.ssiM
reciffO lacirelC rehgiH -/ la
Mrs.K.P.Binda cirelC /- Higher Clerical Officer
Clerical adniB.P.K.srM
rieht e•cThe
udorpparents
er ot noand
issim rep wards
their eht su for
gnigiving
vig rof us
sdrthe
aw permission
rieht dna stto
nerreproduce
ap ehT • their
photographs and images in the .textbook.
koobtxet eht ni segami dna shpargotohp
iii
Foreword
‘Where the mind is allowed to stumble upon cascades of emotion and where the
surprise of creative exchange comes out of tireless striving towards perfection’
Rabindranath Tagore
Should music, dance, arts, drama be taught in schools? Do such subjects matter ?
As in the case of all debate, there are those who are for and those who are
against. The decision, in the context of the reforms leading to the Nine Year
Continuous Basic Education, to include teaching of the performing arts in the
secondary school curriculum shows that ‘the ayes have it.’ At least for the time
being.
Traditionally, music teaching takes place in a one-to-one mode. The piano

teacher teaches one student at a time, so does the sitar guru. Dance is more of a
Mr.experience.
group T. MaureeBut for each of these -disciplines,
Director the
Schooling
context of institutional level
teaching introduces
Mrs.U.Kowlesser opportunities of reaching a broader
- Registrar (MGI) cross-section of population,
thereby giving rise to fresh challenges. Students come from a variety of social and
Dr (Mrs) P. M Hungsraz - Senior Lecturer (Vocal),
cultural environments which expose them to different types, genres and registers in
the arts. Students also come with differentHead
levels School of Performing
of aptitude. These are butArts,
two ofMGI
Mrs. S.encountered.
challenges Seboruth - Ag. Music Organiser (Oriental)
(M.O.E & H.R,T.E & S.R)
From another perspective, it has been repeatedly pointed out that the ‘digital
natives’, while definitely coming to learning with resources hitherto not available,
may,Quality Vetting Team
in the process, be losing their ability to grasp, decipher and understand
Mrs.S.Mungur
emotional language. In short they may be - Associate Professor- MGI (Co-ordinator)
losing empathy.
The Mrsultimate aim of arts education in the
K. Jugurnauth curriculum(Vocal
- Educator is to provide a pedagogical
Hindustani)-
space where the young will be able to explore their own affective responses to
(M.O.E & H.R,T.E & S.R)
forms of artistic expression, to develop sensibility, while acquiring a whole set of
skills,Mrs L. Ramduth
including - Lecturer
not only spatial awareness, 3Drecognition
pattern Animation or & Virtual
movementReality -
coordination, but also the benefits of group MGIand team work, of joint effort, higher
levelMrs.M.
creativeBhujohory
thinking and - Educator
expression, as well as(English)
an overall- MGI
sense of shared
pleasure and of achievement. This is what emotional intelligence is all about.
The specialists who prepared the syllabus and the present textbooks for Indian
music and dance had all the above in mind while undertaking the task. The
Administrative
teacher training for Staff
these disciplines needs to be a continuous process of
exchange between
Mrs.H.Chudoory curriculum developers, teaching practitioners,
- Administrative Officertextbook-writers
and learners.
Miss.S.Jokhoo
The MGI is particularly happy to be part -of Executive Officer
this major development, at a time when
Mrs.K.P.Binda
the country is looking at new avenues for- continued
Clerical /economic
Higher Clerical Officerand
development,
more importantly at new avenues to enhance equity, social justice and inclusion.
It is our small contribution to the ‘grande aventure’ of holistic education.
Mrs Sooryakanti Nirsimloo-Gayan, GOSK
Director-General (MGI & RTI)
iv
Preface
This textbook is the first instructional material in the field of Performing Arts (Indian
Music and Dance) written by a team of experienced Mauritian teachers and
experts in Vocal Music, Instrumental Music and Dance.
It has been designed on the Aims, Objectives and the Teaching and Learning
Syllabus of the Performing Arts from the National Curriculum Framework (2016),
under the Nine Year Continuous Basic Education Programme.
The Performing Arts Curriculum is articulated around four strands: Performing,

Creating, Responding and Performing Arts and Society. Thus, the textbook takes
into account the development of key skills and understandings under the four
strands.
gniloohcS rotceriD - eeruaM .T .rM
This set of textbooks )for IGM ( rart7,
grade sig8eRand- grade 9 lays rthe
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elwoK.U.sinrMeach
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acoV( relearners
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roinethe
S essential
- zknowledge,
arsgnuH M skills
.P )and
srMattitudes
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needed to progress towards
IGM ,strA gnimrofreP fo loohcS daeH higher grades. It also takes into consideration the
multicultural
)latneirOnature
( resof
inaour
grOsociety
cisuM and.gits
A -traditions. hturobeS .S .srM
)R.S & E.T,R.H & E.O.M(
This textbook is a support material that gives direction to the educators in the
teaching and learning process by linking the curricular components, curricular
maeT gnitteV ytilauQ
expectations, pedagogical principles and assessments.
)rotanidro-oC( IGM -rosseforP etaicossA - rugnuM.S.srM
ITR - A)in atsudniH lacoV( rerutceL roineS - aoolooD - russessiB .V srM
textbook is not an end in itself like any other instructional material.It is a means
-)inalearning
to facilitate tsudniHtola coVplace
take ( rotaincuadcontinuous
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tudmathe
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srM
outcomes. It will help the teacher toIG M his/her lesson plans which will further
design
IGM - and
ease the teaching )hsillearning
gnE( rottransaction
acudE - towards achievement.
yrohojuhBTeachers
.M.srM will
have to plan their work so that learning takes place in an effective and efficient
way. They will have to provide appropriate and enriched experiences and modify
the teaching and learning strategies according to the needs of learners.
ffatS evitartsinimdA
The practical aspects
reciffOofethe
vitadiscipline
rtsinimdA have
- been integrated
yrunder
ooduh“practical”
C.H.srMwith
step-by-step technique
recilaying
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rM to
another. reciffO evitucexE - oohkoJ.S.ssiM
reciffO lacirelC rehgiH / lacirelC - adniB.P.K.srM
We are aware that children construct knowledge in their own way and have
different learning styles.The textbook has been designed to cater for such needs.
rieht ecudorper ot noissimrep eht su gnivig rof sdraw rieht dna stnerap ehT •
.koobtxet eht ni segami dna shpargotohp
v
Special features and a generous number of illustrations, pictures, concept maps
and activities have been included to promote collaborative learning and other
additional skills like team spirit, cooperation and understanding diverse nature of
learners. These would help teachers to organise their interactions at classroom
level. Teachers may give more activities, depending upon the availability of
resources and time.
Assessments in the form of activities, projects and questions are also included at
the end of each chapter. These are check points to assess the learners. It will help
teachers gather evidences about the expected level of learning taking place in the
learners.
I would also request all the Educators to go through the National Curriculum
Mr. T. Mauree
Framework - Director
(2016), the Teaching and Learning Schooling
Syllabus of the Performing Arts
Mrs.U.Kowlesser
(Indian Music and Dance) documents- and Registrar (MGI)
especially the “Important Note to
Dr (Mrs)
Educators” P. Mhas
which Hungsraz
been provided- Senior Lecturer to(Vocal),
in the textbook have a thorough
Head School
understanding of the Philosophy and Perspective behindofthose
Performing Arts,
documents andMGI
theirMrs. S. Seboruth
implications in the implementation -ofAg.
theMusic
ReformOrganiser
process in(Oriental)
the education
system. (M.O.E & H.R,T.E & S.R)
I hope that this

Quality new journey
Vetting Teamof learning Indian Music and Dance will be an enriching
one.Mrs.S.Mungur - Associate Professor- MGI (Co-ordinator)
Mrs K. Jugurnauth - Educator (Vocal Hindustani)-
Mr. K. Mantadin,
(M.O.E & H.R,T.E & S.R)
Project Co-ordinator - Performing Arts (Indian Music and Dance),
Senior Lecturer (Tabla),
MGI
Head, Department of Curriculum Development,
Mrs.M.
Mahatma Bhujohory
Gandhi Institute. - Educator (English) - MGI
Mrs.K.P.Binda - Clerical / Higher Clerical Officer
vi
Important Note To Educators
This teaching and learning syllabus of Indian Music and Dance has been
designed on the spiral curriculum model in which core components and
essential topics are revisited within the three years. It caters for both the
theoretical and practical aspects of each discipline.
It also comprises different blocks of knowledge and skills and each block is
supported by specific learning outcomes which cover all the three
domains of learning; cognitive, psychomotor and affective.
The Listening and Viewing component has been integrated in the syllabus
as it is a key factor in the development of music and dance abilities.
Teachers should provide a wide variety of listening and viewing experiences for
gnilooactive
learners to stimulate hcS rolistening
tceriD - and viewing through eeruaquestioning,
M .T .rM
)IGM( rartsigeR -
prompting and suggestion. resselwoK.U.srM
,)lacoV( rerutceL roineS - zarsgnuH M .P )srM( rD
IGM
In ,order
strA gn
toimachieve
rofreP fothe
looobjectives
hcS daeH of the syllabus and to keep a good
)latnebetween
balance irO( resintheory
agrO cand
isuMpractical
.gA - sessions, thehteacher
turobeS will
.S .have
srM to
)R.S
plan his / her & Eand
work .T,R.teaching
H & E.O.and
M( learning activities according to the
topics to be taught as specified in the scheme of studies. However, educators
may modify the sequence of the topics in which m aeTwish
they gnitto
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teach Q the
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osthe
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-)inashould:
Educators tsudniH lacoV( rotacudE - htuanruguJ .K srM
)R.S & E.T,R.H & E.O.M(
- ytilaeR lautriV & nlearners
1. Ensure that oitaminuse
A Dthe
3 rknowledge,
erutceL - skills and understanding
htudmaRdeveloped
.L srM
from grades 1-6 and build upon IGMthat prior knowledge to construct new
knowledge.
IGM - )hsilgnE( rotacudE - yrohojuhB .M.srM
2. Provide learning experiences that include opportunities for hands-on

and interactive learning, self-expression and reflection.
3. Find a variety
reciof
ffOways
evitato
rtsalign
inimdtheir
A - instruction with
yrothe
oduAims,
hC.HLearning
.srM
Outcomes and Specific Learning Outcomes
reciffO evitucexE - by focusing
eisenuG .V.learning
on active srM
and critical thinking.
reciffO evitucexE - oohkoJ.S.ssiM
4. Provide learning activities that are appropriate in complexity and
pacing.
5. Provide opportunities for .individual
koobtxet eand
ht nmultiple
i segamgroupings.
i dna shpargotohp
vii
6. Actively engage and motivate students in the process of Learning Music
and Dance.
7. Develop the ability in the learners to use and understand the language
of Music and Dance through listening and viewing as well as responding
to live and recorded repertoires.
8. Enrich the musical experience of the students by gaining an understanding

of the cultural and historical context of music and dance exploring personal
connections with them.
9. Carry out active listening and viewing sessions through the use of
Information Learning Technologies(ILT’s). This will facilitate developing
their
Mr. investigative
T. Mauree and methodological
- Director Schooling
abilities.
Mrs.U.Kowlesser - Registrar (MGI)
Dr (Mrs) P. M Hungsraz - Senior Lecturer (Vocal),
10. Model and demonstrate accurate andHead
artisticSchool
musicalof
and dance techniques.
Performing Arts, MGI
Mrs. S. Seboruth - Ag. Music Organiser (Oriental)
11. Differentiate Music and Dance instruction
(M.O.E &toH.R,T.E
meet a& wide
S.R) range of
students needs.
12. Educators should also ensure that -learners'
Mrs.S.Mungur Associate Professor- MGI (Co-ordinator)
• Mrs
Show
K.proper care and maintenance
Jugurnauth of classroom
- Educator instruments
(Vocal Hindustani)-
• Demonstrate respectful behavior(M.O.E
as performers and &
& H.R,T.E listeners
S.R)
• Mrs
Participate in classroom protocole
L. Ramduth and traditions
- Lecturer for music
3D Animation making
& Virtual Reality -
and dance MGI
Mrs.M. Bhujohory - Educator (English) - MGI
13. Reinforce effort and provide recognition.
14. Discuss student performances by using peer assessment as a tool.

15. Give opportunities to students - to
Mrs.H.Chudoory assume various
Administrative roles in music
Officer
performances, presentations and collaborations.
16. Motivate students to maintain a musical
Mrs.K.P.Binda collection
- Clerical and
/ Higher portfolio
Clerical of their
Officer
own work over a period of time. It can be an individual or group initiative
that the learner will undertake under the supervision of the educator.
viii
Table
gniloohcS rotceriD - eeruaM .T .rM
)IGM( rartsigeR - resselwoK.U.srM
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IGM ,strA gnimrofreP fo loohcS daeH
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)R.S & E.T,R.H & E.O.M(
maeT gnitteV ytilauQ

)rotanidro-oC( IGM -rosseforP etaicossA - rugnuM.S.srM
Contents
ITR - )inatsudniH lacoV( rerutceL roineS - aoolooD - russessiB .V srM
-)inatsudniH lacoV( rotacudE - htuanruguJ .K srM
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- ytilaeR lautriV & noitaminA D3 rerutceL - htudmaR .L srM
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reciffO evitartsinimdA - yrooduhC.H.srM
reciffO evitucexE - eisenuG .V.srM
reciffO evitucexE - oohkoJ.S.ssiM
.koobtxet eht ni segami dna shpargotohp
CHAPTER 1 MUSIC 1
CHAPTER 2 NAAD 13
CHAPTER 3 SWAR 17
chapter 3
swar – saptak - alankaar
Learning Objectives:
At the end of this chapter learners should be able to:
Define swaras and all other terms related to swaras
Identify and write the nomenclature of the basic swaras together
with the twelve consecutive swaras
Notate swaras of the three main saptaks
Differentiate between swar, saptak and alankaar
Sing the seven shudh swaras in tune
Define the term alankaar
Sing alankaars with musical notes in different saptaks
CHAPTER 4 VOICE CULTURE 31
CHAPTER 5 RAAG 37
CHAPTER 6 TAAL, LAYA AND PADHANT 53

CHAPTER 7 NOTATION SYSTEM IN INDIAN
MUSIC
61
CHAPTER 8 MUSICAL FORMS 66
CHAPTER 9 CLASSIFICATION OF MUSICAL

INSTRUMENTS
71
Glossary of terms 83
CHAPTER 1
CHAPTER 2
music
NAAD
• Define the term ‘Music’.
• Recognise the importance of music in society.
• Name the different styles of music and music cultures around the world.
• Define the term ‘Sangeet’.
• List the two styles of Indian music.
1
CHAPTER 1
MUSIC
1.0 INTRODUCTION TO MUSIC
‘MUSIC’ is an art form which is expressed through beautiful sounds.

Music combines both voices and instruments and is often referred to as
the universal language. Music knows no boundaries as it connects people
from different cultures. Below are some terms and field of activities that
are connected to the world of music.
Songs/
Singers
Musicians/
Concerts
Instruments
MUSIC
Films/
Sound
Serials
Dance Jingles
1.0.1 IMPORTANCE OF MUSIC IN LIFE
• A means of entertainment.
• A means of relaxation.
• Helps to develop and strengthen memory.
• Develops creative skills.
• Develops emotional power.
• A means to earn a living.
• Healing power (Music Therapy).
• Performed in temples and churches.
• Enables one to know various cultures through different styles of music.
In short, we can say that music is omnipresent.
2
CHAPTER 1
MUSIC
1.0.2 TYPES OF MUSIC
There are three main types of music around the world:

1. Classical Music / Art Music
The term “classical”, describe a
musical style. It is bound by rules and
restrictions having a defined standard
with its advance technique, grammar
and theories. For example, the music
created by Mozart and Beethoven is
seen as a very refined and prolific style
of European classical music.
2. Folk Music
Folk music is performed at the time
of ceremonial occasions. It is a style
pertaining to one’s region and culture.
It has some flexibility in its expression
as it is not bound by any rules. Folk
music portrays the common daily life of
an individual or society and has been
passed along orally for generations.
However, it is evolved rapidly over the
last country.
3. Popular Music
Popular music appeals to the taste of
one and all. It covers a wide range of
light music atyles and can be performed
with minimal musical training.
3
CHAPTER 1
MUSIC
1.2 MUSIC AROUND THE GLOBE
Each country has its own culture. Even though languages, styles, instruments
used can be different, yet music around the globe has some common elements
like melody, harmony, rhythm and the capacity to unite people. That is why we
say that music is a universal language. Some of the most popular music styles
around the globe are:
1. Western Music
2. African Music
3. Indian Music
4. Arabian Music
5. Chinese Music
1.2.1 WESTERN MUSIC
The western countries have a multicultural and long list of music genres.
The most famous ones are: Blues, Country music, Rock music and Hip-
hop / Rap music.
1. Blues was initially folk music genre that has emerged as

a distinct African- American stlye. It became popular in the
early 19th century.
2. Country music is a form of a popular music that

originated in the rural southern United States in the early
1920’s. The typical instruments used are the fiddle, banjo,
guitar and pedal steel guitar.
3. Rock music is a popular form of music which evolved
from rock and roll and pop music during the mid and late
1960s.
4. Hip-hop or rap music, is a music genre that developed

in the United States in the 1970s, consisting of rhythmic
speech as well.
4
CHAPTER 1
MUSIC
1.2.2 AFRICAN MUSIC
The traditional music of Africa is historically ancient, rich and diverse with
many distinct musical traditions. African music is mainly performed during
rituals and religious ceremonies and has a unique rhythmic setting for
both singing and dancing.
BAMBOO PAN FLUTE GOURD XYLOPHONE DJEMBE
5
CHAPTER 1
MUSIC
1.3 MUSIC IN MAURITIUS
Mauritius is part of the African continent. However, our population is made up

of people from European, Indian, African and Chinese origins. The two main
traditional forms of music of Mauritius are:
1. THE SÉGA – The traditional ‘sega’ originated from the Africans who were
bought to Mauritius centuries ago. This style has become very popular and
has greatly evolved over the past decades. The singers and dancers wear
very colourful costumes during their performances’.
The most typical instruments used for the sega are:
THE RAVANNE THE TRIANGLE
Ti Frère the famous sega singer, who

THE MARAVANNE contributed to the popularisation of
typical sega, is known as the king
of sega and his real name is Jean
Alphonse Ravaton.
6
CHAPTER 1
MUSIC
2. THE BHOJPURI FOLK MUSIC –

Bhojpuri folk music in Mauritius is a
treasure that we got from indentured
labourers. They would work in fields
a whole day and at night they would
share their emotions of being together
by singing and dancing. Traditional
Bhojpuri songs are performed on such
occasions like weddings, childbirth or during harvest period.
However, bhojpuri music became famous through a ceremony called ‘geet

gawai’ during Mauritian Indian weddings. Instruments that are commonly used
are:
LOTA AND SPOON DHOLAK KARTAAL
The UNESCO inscribed the ‘sega tipik

morisien’ and ‘geet gawai’ to the intangible
cultural heritage of humanity on
27th November 2014 and 2nd December
2016 respectively.
7
CHAPTER 1
MUSIC
1.4 INDIAN MUSIC (SANGEET)
Indian music is also known as sangeet. The origin can be traced back to Vedic
days, almost two thousand years ago. Bharata’s Natya Shastra (4th Century
AD) attributes the art and science of music to the samveda. Indian music has
two main systems namely:
1. HINDUSTANI MUSIC – Hindustani music is the form of Indian classical

music that developed in the northern parts of India.
2. CARNATIC MUSIC - Ancient classical music of South India is known as

Carnatic music.
8
CHAPTER 1
MUSIC
Sangeet is defined as “geetam, vaadyam tatha nrityam trayam sangitam

uchyate” (Sharangdev) meaning that it is a mixture of the three forms of art
including vocal, instrumental and dance.
• VOCAL MUSIC
Vocal music is referred to singing, and can
be performed by one or more singers, either
with or without instrumental accompaniment.
Vocal music is considered to be the leader

and the kingpin of all forms of music.
However, there is a deep relationship
between vocal and instrument music.
It is impossible to visualise any vocal
Smt. Kaushiki Chakraborty
performances without instruments.
• INSTRUMENTAL MUSIC
It is performed using either one musical
instrument or a group of instruments. The
sitting or standing posture of the musician
depends on the instrument he or she is
playing. The sitting posture is given a lot of
importance in Indian music (to be discovered
in another chapter).
9
CHAPTER 1
MUSIC
• DANCE
Dance refers to moving one’s feet
or body, both, rhythmically in a
pattern of steps, especially with the
accompaniment of music. Different
types of dances exist in Indian music
like Bharata Natyam, Kathak and
Kuchipudi among others.
• Music is an art form related to sound.

• Classical, folk and pop style exist in all cultures.
• Sega and bhojpuri are the traditional forms of music in
Mauritius.
• Sangeet means vocal, instrumental and dance put together.
• Indian music is divided into Hindustani and Carnatic music.
Samaveda, classical music, folk music, Hindustani and Carnatic

music, Western and African music.
Western Classical music

https://www.youtube.com/watch?v=JTc1mDieQI8
Folk song of Rajasthan
https://www.youtube.com/watch?v=RNz5TB_LNCM
Popular music – the king of pop
https://www.youtube.com/watch?v=mHhrZxLWOHc
10
CHAPTER 1
MUSIC
1. Fill in the blanks with the appropriate words.

a) The combination of singing, dancing and playing of
instruments is called .
b) Music is also known as language.
c) The music of Beethoven and Mozart is known as .
d) The Ravanne is used in the .
e) Bharata Natyam is a type .
2. Explain how we recognize folk music.
3. In which year did Hip-Hop music became famous?
4. Indicate whether the following statements are true T or false F .
a) Music is considered as a universal language.

b) The gourd xylophone is aa African musical instrument.
c) Kathak is a musical instrument.
d) The instrument “triangle” is commonly used in sega.
5. a) On which occasions is the Bhojpuri style of music performed?

b) Give an example of one instrument made of copper.
c) Write the full name of Tifrère.
d) Name the two main forms of Indian music.
e) Define vocal music.
f) Give 3 examples of the importance of music in our everyday
life.
11
CHAPTER 1
MUSIC
NOTES
12
CHAPTER 2
CHAPTER 2
NAAD
• List the different kinds of Naad.
• Define the different kinds of Naad.
• List the objects producing Naad.
• Differentiate between the two types of Naad.
15
CHAPTER 2
NAAD
2.0 INTRODUCTION TO NAAD
‘Naad ’ in Indian music is given utmost importance. Naad literally means

sound, implying that the whole subject of music relates to Naad.
2.0.1 TYPES OF NAAD
There are two types of naad : Ahat naad and Anahat naad
Ahat Naad means sound produced as a result of friction
between two objects. Ahat naad is also known as struck
sound.
Ahat naad is divided into two parts;

(a) Musical sound - (pleasant to the ears)
(b) Noise - (unpleasant to the ears)
• Anahat Naad
Anahat Naad refers to the unstruck
and mystic sound. It does not have any
scientific reasoning or explanation. It is
believed that sages sitting in meditation
can hear those sounds. Some people try
to explain it by the sound heard in shells.
14
CHAPTER 2
NAAD
NAAD - SOUND
• Ahat Naad • Anahat Naad

STRUCK SOUND UNSTRUCK SOUND
MUSICAL NOISE DIVINE
• There are different types of sound.

• Musical sound is pleasant to the ears.
• Non-musical sound or noise is unpleasant.
Sound, musical sound, noise, unstruck sound.
Difference between Noise and Musical Notes

https://www.youtube.com/watch?v=bCm6VpCE9Qc
15
CHAPTER 2
NAAD
Activity 1: Fill in the blanks with the appropriate words.
1. Two types of naad are ________________ and ________________.

2. Two forms of ahat naad are ____________ and ________________.
3. Sound heard at a market place is referred as _______________.
4. Musical sounds are ______________ to our ears.
Activity 2: Match the terms with their appropriate statement.
Naad is a good example of noise
Ahat naad refers to sound
Anahat naad is unpleasant to the ears
Musical sound refers to cosmic sounds
Noise regular and pleasant sounds
Loud siren struck sound
Activity 3:
Indicate whether the following statements are true T or false F .
a) Fire crackers are musical sounds.

b) The gourd xylophone produces unmusical sound.
c) Barking of dogs are unmusical.
d) Noise is pleasant to the ears.
16
CHAPTER 3
Swar - saptak - alankaar
• Define swar-s and all other terms related to swar-s.
• Identify and write the nomenclature of the basic swar-s together with the
twelve consecutive swar-s
• Notate swar-s of the three main saptak-s.
• Differentiate between swar, saptak and alankaar.
• Sing the seven shudh swar-s in tune.
• Define the term alankaar.
• Sing alankaar-s with musical notes in different saptak-s.
CHAPTER 3
SWAR
3.0 INTRODUCTION TO SWAR
‘Swar’ can be literally defined as musical note. There are twelve notes in
Hindustani music, out of which seven are called ‘Shudh Swar-s’.
3.1 SHUDH SWAR-S
Shudh Swar-s are also known as natural notes and are written as:
Sa Re Ga Ma Pa Dha Ni
Or
S R G M P D N
3.2 VIKRIT SWAR-S
The other five remaining notes are known as ‘Vikrit Swar-s’ (variables) out of which
four are called ‘Komal Swar-s’.
3.2.1 KOMAL SWAR-S
Komal Swar-s are also known as flat notes and they are lower in frequency than the
natural ones. They are written with a horizontal dash below the swar:
Re Ga Dha Ni
Or
R G D N
You must be asking yourself about the fifth note!
18
CHAPTER 3
SWAR
3.2.2 TIVRA SWAR
The fifth note is known as ‘tivra swar’ (sharp note), written with a vertical dash above
the note as shown below. It is higher in frequency than the natural one:
Ma
Or
M
We can now list the twelve consecutive notes used in Hindustani music. They are in
the following order:
S R R G G M M P D D N N
The arrangement of the 12 consecutives notes on the keyboard is shown in the

following diagram.
Did you notice that all the

notes have two versions
apart from the notes SA
and PA?
19
CHAPTER 3
SWAR
3.3 CHAL AND ACHAL SWAR-S
The notes Sa and Pa are called ‘Achal Swar-s’ (fixed notes) whereas the other notes
are known as ‘Chal Swar-s’ (movable notes).
NAMES OF THE SEVEN SWAR-S
ABBREVIATED FORM NAMES NOTATION FORM
SA Shadaj S
RE Rishabh R
GA Gandhaar G
MA Madhyam M
PA Pancham P
DHA Dhaivat D
NI Nishada N
Each note is associated

to a specific animal. Try to
find out which 7 animals
they are?
20
CHAPTER 3
SWAR
3.4 INTRODUCTION TO SAPTAK
‘Saptak’ is defined as a group of the seven musical notes. When the higher
shadaj (Sa) is added to the saptak, it becomes an ‘Ashtak’ (Octave). There are
three main saptak-s in Hindustani music:
3.4.1 MANDRA SAPTAK
LOW SCALE (Mandra Saptak)

A dot is placed below the note when it is in the mandra saptak.
3.4.2 MADHYA SAPTAK
MIDDLE SCALE (Madhya Saptak)

The notes in this saptak do not have any dot neither above nor below.
3.4.3 TAAR SAPTAK
HIGH SCALE (Taar Saptak)

The notes of the taar saptak can be recognised by the dots placed above them.
21
CHAPTER 3
SWAR
Activity 1
1. Fill in the blanks with appropriate terms.
a) Natural notes are known as _________ _________.

b) When a note is underlined it means that it is a ___________ note.
c) A vertical bar above a note indicates that the note is ______________.
d) ______________ are used to differentiate between saptak-s.
2. How many main saptak-s do we have in Hindustani music?
3. Write the following notes:
a) Komal Rishabh in Madhya saptak.

b) Shudh Nishada in taar saptak.
c) Tivra Madhyam in Madhya saptak.
d) Komal Gandhaar in mandra saptak.
e) Pancham in madhya saptak.
a) Komal swar-s are also known as sharp notes.

b) The note Ma is also known as madhyam.
c) Shudh Nishada is called sharp Ma.
d) A saptak is a scale of seven notes.
e) There are five vikrit swar-s.
22
CHAPTER 3
SWAR
3.5 ALANKAAR
‘Alankaar’ is known as musical exercises meant to train the voice. Alankaar

can be built up using the following eight notes (S R G M P D N S). It should be
noted that an alankaar comprises of an aroha (ascending order of notes) and
an avroha (descending order of notes).
Example:
AROHA : S R G M P D N S
AVROHA : S N D P M G R S
The movement of alankaar singing is just like climbing a staircase then coming
down the stairs.
N
AROHA N AVROHA
D D
P P
M M
G G
R R
S
S SS
23
CHAPTER 3
SWAR
Using
Mathematical
Patterns in Alankaar
It is very interesting to know that alankaar-s are composed using mathematical

patterns. Let us see how we can proceed.
Step 1: Reading notes like numbers.
1 2 3 4 5 6 7 8
S R G M P D N S
Step 2: Trying a simple pattern.
1 2 3 4 5 6 7 8
S R G M P D N S
Can you guess this pattern?

Try to write the aroha and the avroha with the help of your teacher.
Hints :

1-2 1-3
SR SG .. .. .. .. ..
24
CHAPTER 3
SWAR
PRACTICALS
NOTES TO TEACHERS
Some Alankaar-s have been included

for the learners to practise.
Please follow the steps below.
Step 1: To choose a standard pitch for the whole class, use an

electronic tanpura or a harmonium.
Step 2: Students should listen to the drone and try to sing the note ‘SA’
in groups.
Step 3: Gradually make the learners sing in ascending order until they
reach ‘SA’ in the taar saptak.
Step 4: Once you have finished with the aroha, the learners will proceed
in the same way for the avroha.
Step 5: Make sure that all the learners sing their swar-s correctly on the
given pitch.
Step 6: Once learners have been able to sing the aroha and avroha of
the first alankaar then you can continue with other alankaar-s.
Proceed with only one alankaar per week.
Step 7: After completing each alankaar, sing it in:
(i) groups
(ii) individually.
25
CHAPTER 3
SWAR
SOME ALANKAAR-S FOR PRACTICE
Alankaar 1:
SS RR GG MM PP DD NN SS
SS NN DD PP MM GG RR SS
Alankaar 2 :
SSS RRR GGG MMM PPP DDD NNN SSS

SSS NNN DDD PPP MMM GGG RRR SSS
Alankaar 3 :
SRG RGM GMP MPD PDN DNS

SND NDP DPM PMG MGR GRS
Alankaar 4 :
SRGM RGMP GMPD MPDN PDNS

SNDP NDPM DPMG PMGR MGRS
Alankaar 5 :
SRSRG RGRGM GMGMP MPMPD PDPDN DNDNS

SNSND NDNDP DPDPM PMPMG MGMGR GRGRS
Alankaar 6 :
SRSRGM RGRGMP GMGMPD MPMPDN PDPDNS

SNSNDP NDNDPM DPDPMG PMPMGR MGMGRS
26
CHAPTER 3
SWAR
Alankaar 7 :
SRSS RGRR GMGG MPMM PDPP DNDD NSNN SRSS

SRSS NSNN DNDD PDPP MPMM GMGG RGRR SRSS
Alankaar 8 :
SNDNS RSNSR GRSRG MGRGM PMGMP DPMPD NDPDN
SNDNS
SNDNS NDPDN DPMPD PMGMP MGRGM GRSRG RSNSR

SNDNS
Alankaar 9 :
SRGSG RGMRM GMPGP MPDMD PDNPN DNSDS

SNDSD NDPNP DPMDM PMGPG MGRMR GRSGS
Alankaar 10 :
SS SR SG SM SP SD SN SS
SS SN SD SP SM SG SR SS
27
CHAPTER 3
SWAR
1. PRACTISE AT LEAST 2 OR 3 ALANKAAR-S FOR 15 MINUTES PER

DAY.
2. TRY TO MAINTAIN THE CORRECT PITCH AND SWAR.
• Swar-s are musical notes.

• Swar-s can be shudh, vikrit, (komal, Tivra) chal and
achal.
• Names of swar-s are Sa Re Ga Ma Pa Dha and Ni.
• There are 3 main saptak-s.
• Alankaar-s are essential practice for vocalists.
Musical notes, natural notes, flat and sharp notes, movable and fixed
notes, low, middle and high octave.
Alankaar Practice
https://www.youtube.com/watch?v=ta2EAlQjmAM
28
CHAPTER 3
SWAR
1) Work individually or in groups of two or three and try to compose

one alankaar (aroha and avroha) using mathematical patterns.
2) Complete the following alankaar-s:
SG RM ____ ____ ____ DS

SD NP ____ ____ ____ GS
SRSG RGRM _____ _____ _____ DNDS

SNSD NDNP _____ _____ _____ GRGS
SNS RSR _____ _____ _____ _____ _____ SNS

SNS _____ _____ _____ _____ _____ _____ SNS
SRGS RGMR _____ _____ _____ _____ _____ SRGS

SRGS _____ _____ _____ _____ _____ _____ SRGS
SSR RRG _____ _____ _____ _____ NNS

SSN NND _____ _____ _____ _____ RRS
29
CHAPTER 3
SWAR
NOTES
30
CHAPTER 4
Voice culture
• Distinguish between good and bad breathing techniques.
• List the do’s and don’ts of voice production.
• Sit in the right posture.
• Practise notes of the lower octave (Mandra Saptak).
• Demonstrate a positive attitude towards practice.
CHAPTER 4
VOICE CULTURE
4.0 VOICE CULTURE
4.0.1 INTRODUCTION
The main instrument for a singer is his/her voice. The voice needs to be trained and
cultivated. We should not forget that the voice is a ‘natural’ instrument and it should
be well maintained so that it remains sweet and melodious.
4.0.2 DEFINITION
The process of bringing the voice under control and enriching the voice is known
as voice culture. It involves traditional as well as scientific methods to improve the
quality of the voice.
4.0.3 BREATHING TECHNIQUE
Good breathing technique is a very important step towards voice culture. If we can
master our breath, then we can easily master our voice for singing.
Good breath control makes your voice:
Fine
Clear
Steady
Good breathing skill enables a singer to better control his/her voice from wobbling or
shaking.
32
CHAPTER 4
VOICE CULTURE
4.0.4 SITTING POSTURES
The best sitting position for Indian classical music is the lotus position or half-lotus
position as shown in the diagram below. Observe the position and shape of the back.
Lotus position Half-lotus position Straight back
4.0.5 VOCAL EXERCISES – EARLY MORNING PRACTICE
Requirement: Tanpura
Step 1 -
Establish your tonic note (Sa) and sing the note with long, deep breath.
Step 2 -
Move in descending order in the lower octave (Mandra Saptak) posing on each note
with a long breath. Each note should be sung by their names, example Sa, Ni, Dha,
Pa etc.
Step 3 -
Repeat exercise with ‘Aakar’ sound (Aaaaaa…) on each note. The objective of this
exercise is to reach the Mandra Sa called the ‘Khadaj’.
33
CHAPTER 4
VOICE CULTURE
Importance of Voice Culture
Know
your own voice
quality, its range
and its
limitations
Provides Increases
appropriate the range
remedies for and depth
voice of the
disorders voice
Importance
of
Voice
culture
Have
Helps control on
to get rid of breathing while
stage fears singing
Control
over
different
octaves
34
CHAPTER 4
VOICE CULTURE
THE DO’S AND THE DON’TS IN VOICE CULTURE
Control over voice is very essential for singers. Below are some essential tips for
maintaining a good voice.
• DO USE GOOD BREATH SUPPORT

The lungs are the power behind the voice. Take
the time to fill your lungs before starting
to sing and do not wait until you are almost out
of breath to inhale again.
• DO LIVE A HEALTHY LIFESTYLE

This includes exercise, healthy eating, and getting
adequate sleep.
• DO DRINK WATER
Stay well hydrated! Your body needs about six
to eight glasses of water daily to maintain a
healthy voice. This water consumption optimizes
the throat’s mucus production and aids vocal
fold lubrication.
• DON’T ABUSE OR MISUSE YOUR VOICE

Avoid habitual yelling, screaming, or cheering.
Try not to talk loudly in locations with
significant background noise.
35
CHAPTER 4
VOICE CULTURE
• Breathing Techniques.
• Sitting posture.
• Vocal exercises.
• Do’s and don’ts for a vocalist.
Voice, breathing, control, lifestyle, screaming.
“A good singer should lead a disciplined life.”

Discuss (150 words)
Voice culture
https://www.youtube.com/watch?v=Ta1h8WekYuI
https://www.youtube.com/watch?v=Y26OynKfW1Q
36
CHAPTER 5
rAAG
• Define the concept of raag and all the components related to raag.
• State the salient features of each raag prescribed (Raag Bhupali and
Raag Bilawal).
• Sing the aroha, avroha and pakad of each raag prescribed.
• Sing in tune and rhythm with tabla accompaniment or with electronic
talamala one sargam geet, one chota khayal and/or one thematic song in
any of the raag-s prescribed.
• Appreciate Indian music through co – operate learning and through solo
and group performance.
CHAPTER 5
RAAG
5.0 INTRODUCTION TO RAAG
A raag is a ‘melodic scale’ based on a particular arrangement of notes. Raag

can be translated as ‘moods’ or a melodic structure consisting of at least five
notes with its ascending and descending movement. ‘Raag’ comes from the
Sanskrit word ‘Ranj’ which means to delight; “Ranjayati iti raag” meaning “that
which colours the mind is a raag”.
Below are some characteristics of a raag:
A VADI
and a
SAMVADI
A minimum of five SA
notes is never omitted
MA and PA
Specific time of
RAAG cannot be omitted
singing
at the same time
AROHA, Attached to a
AVROHA,
particular Thata
PAKAD
38
CHAPTER 5
RAAG
5.1 CHARACTERISTICS OF RAAG
• THATA –
Parent scale or family of notes where raag is classified.
• AROHA –
The ascending order of notes in a raag.
• AVROHA –
The descending order of notes in a raag.
• PAKAD –
The typical phrase of a raag which allows one to recognise the raag.
• VADI SWAR –
The most important note in a raag also known as sonant.
• SAMVADI SWAR –
The second most important note in a raag (consonant).
• ANUVADI –
Other supporting notes in a raag (assonants).
• VIVADI –
A foreign note rarely used in a raag. Sometimes used by experts to enhance
the beauty of the raag (dissonant).
• TIME OF SINGING –
The part of the day or night at which a raag is sung.
• JATI –
The number of notes used in ascending and descending order of a raag
indicates its jati. There are three main jati-s which are known as:
Audav: Five notes

Shaadav: Six notes
Sampoorna: Seven notes
5.1.1 Thata
Raag-s are classified under a particular Thata, known as Parent Scale. Using
mathematics,Pt. Vyankatmakhi a South Indian musicologist proved that 72 possible
thata-s can be made out of the 12 notes of a saptak. However, Pt. V. N. Bhatkhande
rejected this theory as some of the thata-s were not respecting the rules of thata
in Hindustani music.
39
CHAPTER 5
RAAG
The rules of thata are as follows:
RULES FOR THATA ACCORDING TO Pt. V.N.BHATKHANDE:

• A thata must have 7 notes out of the 12 notes placed in ascending order.
• Both forms of the same note cannot be used.
• Thata has only an Aroha.
• Thata-s are not sung.
• Thata-s are meant for classification of raga-s.
Following these rules, Pt. Bhatkhande accepted only 32 Thata-s. But he chose
only 10 thata-s to classify the Hindustani raag-s.
The 10 basic thata-s according to the Bhatkhande System are as follows:
1. KALYAN - S R G M P D N
2. BILAWAL - S R G M P D N
3. KHAMAJ - S R G M P D N
4. BHAIRAV - S R G M P D N
5. PURVI - S R G M P D N
6. MARWA - S R G M P D N
7. KAFI - S R G M P D N
8. ASAVARI - S R G M P D N
9. BHAIRAVI - S R G M P D N
10. TODI - S R G M P D N
40
CHAPTER 5
RAAG
In this chapter you will learn

two raag-s:
1. Raag Bilawal 2. Raag Bhupali

taken from taken from
Thata Bilawal Thata Kalyan
5.2 RAAG BILAWAL - (THEORY)
Raag Bilawal is an early morning raag sung around (07.00 a.m. - 10.00 a.m.).
It is derived from Thaat Bilawal and has all the seven shudh swar-s
(7 natural notes). The vadi is the note Dha and the samvadi is the note Ga.
41
CHAPTER 5
RAAG
Aroha : S R G M P D N Ṡ
Avroha : Ṡ N D P M G R S
Pakad : G P D N Ṡ
Thata : Bilawal
Vadi : D
Samvadi : G
Jati : Sampoorna - Sampoorna
Time of Singing: 1st Period of the day (7.00 am – 10.00 am)
5.3 RAAG BILAWAL - (PRACTICAL)
STEP 1 – Sing the note ‘Sa’ with the help of an electronic tanpura on the pitch that
your teacher will find appropriate for the whole class.
STEP 2 – Gradually you sing the notes S, R, G and M.
STEP 3 – Now you can add the other four notes from the upper tetrachord that is
you have to sing S, R, G, M, P, D, N and S.
STEP 4 – In the same way proceed with the avroha.
STEP 5 – Now listen to how your teacher sings the pakad and try to sing it.
42
CHAPTER 5
RAAG
SARGAM OF RAAG BILAWAL

SET TO TEENTAAL (Cycle of 16 beats)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
X 2 O 3
Sthayi
G P D N
Ṡ - Ṡ - Ṡ N D P M G M R G M P G
M G R S D N Ṡ N D P M G
X 2 O 3
Antra
P P D N
Ṡ - Ṡ - Ṡ Ṙ Ġ Ṁ Ġ Ṙ Ṡ - Ġ Ṙ Ṡ N
D P D N Ṡ N D P M G M R
X 2 O 3
Did you know

This sargam is taken from one
of the volumes of the Kramik
Pustak Malika written by Pt. V.
N. Bhatkhande. The books were
originally in Hindi.
43
CHAPTER 5
RAAG
CHOTA KHAYAL IN RAAG BILAWAL

SET TO TEENTAAL (CYCLE OF 16 BEATS)
(Taken from Kramik Pustak Malika)
Sthayi
Tu hi adhaara sakala tribhuwana ko
Paalaka sacharaa chara bhutana ko
Antara
Tu hi Vishnu, tu naaraayana
Kaarana tu para brambha jagata ko
This bandish (composition) is in ‘braj bhasha’, a language which was

prevalent in ancient India. The meaning of the composition is as follows:
Sthayi
The whole universe is dependent on God
The maintainer of the universe is God.
Antara
You are Vishnu, you are Naaraayana
God is the only one behind all the happenings of the Universe
or
You are the Supreme power of the Universe
44
CHAPTER 5
RAAG
RAAG BILAWAL – CHOTA KHAYAL

SET TO TEENTAAL (Taken from Kramik Pustak Malika)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
X 2 0 3
Sthayi
P
G P N
D N
Tu ʃ hi a
Ṡ - Ṡ Ṡ N
Ṡ Ṙ Ṡ N D P MG MR M
G M P MG
dhaa ʃ ra sa ka la tri bhu wa na koʃ ʃʃ Paa ʃ la kaʃ
M R S - N
D N Ṡ N D P MG MR
sa cha raa ʃ cha ra bhu ʃ ta na koʃ ʃʃ
X 2 0 3
Antra
P - N
D D
N
Tu ʃ hi ʃ
Ṡ - Ṡ - N
Ṡ Ġ Ṙ
Ġ Ṁ Ġ Ṙ Ṡ Ṡ N
Ṡ - Ġ Ṙ
vi ʃ shnu ʃ tu ʃ naa ʃ raa ʃ ya na Kaa ʃ ra na
Ṡ N N
D P N
D N Ṡ ṠN D P MG MR
tu ʃ pa ra bram ʃ bha jaʃ ga ta koʃ ʃʃ
X 2 0 3
45
CHAPTER 5
RAAG
Assessment on Raag Bilawal
1) From which raag can you find the following pakad?

G P D N Ṡ
2) Write the notes of Raag Bilawal in descending order.
3) Explain the following:
a) koʃ
b) Ṙ
c) MG
4) Who is the author of Kramik Pustak Malika?
5) What is the jati of Raag Bilawal?
6) At what time is Raag Bilawal sung?
7) Give another name for vadi.
8) What is a consonant?
46
CHAPTER 5
RAAG
5.4 RAAG BHUPALI - (THEORY)
Raag Bhupali is an evening raag sung around (07.00 p.m. - 10.00 p.m.). It is derived
from kalyan Thata and has only 5 swar-s (5 natural notes). The vadi note is Ga and
the samvadi note is Dha. The jati of this raag is audav – audav. The notes Ma and
Ni are varjit (omitted) in this raag.
Aroha : S R G P D Ṡ
Avroha : Ṡ D P G R S
Pakad : GRSḌ , SRG , PG , D , PGRS
Thata : Kalyan
Swar-s : S R G P D
Vadi : G
Samvadi : D
Jati : Audav - Audav
Time of Singing: 1st Period of the night (7.00 pm – 10.00 pm)
Varjit Swar : M and N
47
CHAPTER 5
RAAG
5.5 RAAG BHUPALI - (PRACTICAL)
STEP 1 – Listen well to the drone of the tanpura and sing the note ‘Sa’.
STEP 2 – Gradually you sing the notes S, R and G.
STEP 3 – Now you can add the other three notes from the upper tetrachord that is
you have to sing S, R, G, together with P, D and S.
STEP 4 – In the same way proceed with the avroha.
AROHA AVROHA
D D
P P
G G
R R
S S
STEP 5 – Now listen to how your teacher sings the pakad and try to sing it.
48
CHAPTER 5
RAAG
THEMATIC SONG
IN RAAG BHUPALI
(Written and composed by Mrs R. Nobin)
Sthayi
Jhanda ouncha rahe hamara

May our flag hoist High
Muskaye khile desh hamara
May our country keep prospering
Antra 1
Neel gagana mein jab lehraye
While the flag floats in our blue sky
Garva se chamke chehra hamara
Our faces shine with pride
Antra 2
Desh hamara sab se pyara
Our country is the beloved
Hind mahasagar ka tara
Shining star of the
Indian ocean
49
CHAPTER 5
RAAG
THEMATIC SONG IN RAAG BHUPALI

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
X 2 0 3
Sthayi

G _ G P R _ S S
Jhan ʃ da ʃ oun ʃ cha ra
Ḍ S _ R G R G _ G
P
_ G G P _ P P
he ʃ ʃ ha ma ʃ ra ʃ Mus ʃ ka ʃ ye ʃ khi le
G
R _ R P R _ S _
de ʃ sh ha ma ʃ ra ʃ
X 2 0 3
Antra 1
PG _ G G P P D _
Nee ʃ la ga ga na mein ʃ
Ṡ Ṡ Ṡ Ṡ ṠĠ ṘĠ Ṡ _ Ṡ _ Ṡ Ṡ D D P _
ja ba le he ra ʃ ye ʃ Gar ʃ va se cham ʃ ke ʃ
G _ G P R R S _
che ʃ ra ha ma ʃ ra ʃ
X 2 0 3
Antra 2
PG _ G G P P D _
De ʃ sha ha ma ʃ ra ʃ
Ṡ Ṡ Ṡ Ṡ ṠĠ ṘĠ Ṡ _ Ṡ _ Ṡ Ṡ D D P _
sa ba se ʃ pya ʃ ra ʃ Hin ʃ da ma ha ʃ saa ʃ
G _ G P R R S _
ga ra ka ʃ ta ʃ ra ʃ
X 2 0 3
50
CHAPTER 5
RAAG
• A raag is a melodic structure.
• Raag-s are categorised under a particular Thata.
• Some salient features of a raag are: its Vadi,
Samvadi, Aroha, Avroha, Pakad, Singing
time and Jati.
Sonant, consonant, assonant, dissonant.
Chota Khayal
https://www.youtube.com/watch?v=RbIYODm3BfI
51
CHAPTER 5
RAAG
Activity 1: Find the words listed below.
P E Z Q E K I S J A L I U I W
C C O O H L I A D V Z Y C D V
G V H R A Y U K J R V M R A A
Z D K P H N W H R O R V O V D
X A U K O M A L I H A W J M I
T H N T R H H J H A T I E A H
B I M U A A Z W O K J S O S A
C N V T V P I T A J G C P T J
W A X R R A P B I L A W A L B
E L D A A C D B U D J H A E R
X Y H I D A V I V D T U A Q P
I A U I A Z K R C A A G Z G E
R O I Z X N A B Y Y D K H G Y
N K P H K A V Y L U R V A A P
W U T U G F B E W G P W E P O
ANUVADI
AROHA
AVROHA
BHUPALI
BILAWAL
JATI
KOMAL
PAKAD
PRAHAR
RAAG
SAMVADI
THATA
TIVRA
VADI
VIVADI
52
CHAPTER 6
taal, laya and padhant
• Recognise each of the following components of a taal:
Avartan, vibhag, matra, sam, dusri, khali, tisri, tali, bol and theka.
• Define the concept of taal and state its function in music.
• List the three types of laya and interpret the co-relation between taal and laya.
• Count (with right clappings and wavings of hands) and recite (with correct
pronunciation) all the compositions learnt at a given regular rhythm in thah
laya (Basic laya).
• Recognise the action of the hands while counting the taal.
• Demonstrate an appreciation of the various rhythmic patterns under study.
• Identify the different actions of the hands (kriya-s).
• Memorise the compositions.
CHAPTER 6
TAAL
6.0 INTRODUCTION TO TAAL
Taal measures time in music. Some believe that the word taal is derived from the
word tali (To clap) and the main function of taal is to give rhythm. The musical
time is divided into simple as well as complex metres. Hence, there are many
taala-s of different measures used in musical compositions. The pictures below
show different instruments on which taal is being executed:
PICTURE 1 – PLAYING TABLA PICTURE 2 – PLAYING RAVANA
PICTURE 3 – PLAYING DJEMBE PICTURE 4 – PLAYING DRUMS
PICTURE 5 – CLAPPING HANDS
54
CHAPTER 6
TAAL
6.1 COMPONENTS OF TAAL
• THEKA –
The pre-set syllables by which a taal is recognised. It gives the taal a form when
played repeatedly to establish a unique pattern.
• BOL-S –
Sounds produced by the tabla are called bols (syllables like dha, dhin, tin).
• MATRA –
It is the unit of measurement in music.
• SAM –
The first and most emphasized beat of a taal. It is represented by the sign ‘X’.
• KHALI –
The unaccented beat of a tala, denoted by the sign ‘0’.
• TALI –
Other emphasized beats,other than sam like dusri and teesri represented by the
numbers ‘2’, ‘3’ and ‘4’ respectively.
• VIBHAG –
The divisions in a taal.
• AVARTAN –
The complete cycle (one revolution) of a taal, starting from sam and ending on
sam.
• CHINHA –
Chinha refers to the signs and symbols used in notation writing.
• LAYA –
The term laya refers to speed or tempo in music. In Hindustani music, we have
three different laya-s namely:
Did you know
1. Vilambit Laya – Slow tempo
2. Madhya Laya – Medium tempo Regularity and rhythm in music is of utmost
3. Drut Laya – Fast tempo importance. Just like the ‘tic toc’ of a clock
you have to be in rhythm while singing,
dancing or playing instruments. When your
heart beats regularly it means that you are
in a good health otherwise, it means that you
are not well. This applies for taal also.
Regularity is the key word
in taal.
55
CHAPTER 6
TAAL
6.2 TAAL KEHERWA (THEORY + PRACTICAL)
Taal Keherwa is a cycle of eight beats divided into two vibhag-s:

TAAL KEHERWA (Cycle of 8 beats in 2 vibhag-s)
MATRA-S 1 2 3 4 5 6 7 8
SYLLABLES DHA GE NA TI NA KA DHI NA
TAAL SIGNS X 0
PADHANT –THE COUNTING OF KEHERWA TAAL WITH HAND MOVEMENTS &

RECITING OF SYLLABLES
STEP 1 – DHA
STEP 2 – GE STEP 3 – NA STEP 4 – TI
(CLAP)
STEP 5 – NA
STEP 6 – KA STEP 7 – DHI STEP 8 – NA
(WAVE)
STEP 9 - DHA NOTES TO TEACHERS

(CLAP)
Explain the counting of taal stepwise so

that the learners memorise the syllables
together with the hand movements.
Repetition of step 1 to
complete one avartan.
56
CHAPTER 6
TAAL
6.3 TAAL DADRA (THEORY + PRACTICAL)
Taal Dadra is a cycle of six beats divided into two vibhag-s:

TAAL DADRA (Cycle of 6 beats in 2 vibhag-s)
MATRA-S 1 2 3 4 5 6
SYLLABLES DHA DHIN NA DHA TI NA
TAAL SIGNS X 0
PADHANT –THE COUNTING OF DADRA TAAL WITH HAND MOVEMENTS & RE-
CITING OF SYLLABLES
STEP 1 – DHA STEP 2 – DHIN STEP 4 – DHA
STEP 3 – NA
(CLAP) (WAVE)
STEP 5 – TIN STEP 6 – NA STEP 7 - DHA (CLAP)
Repetition of step 1 to complete one avartan.
6.4 TEENTAAL (THEORY + PRACTICAL)
Teentaal is a cycle of sixteen beats divided into four vibhag-s:

TEENTAAL (Cycle of 16 beats in 4 vibhag-s)
MATRA-S 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
SYLLABLES DHA DHIN DHIN DHA DHA DHIN DHIN DHA DHA TIN TIN TA TA DHIN DHIN DHA
TAAL SIGNS X 2 0 3
57
CHAPTER 6
TAAL
PADHANT –THE COUNTING OF TEENTAAL WITH HAND MOVEMENTS & RE-

CITING OF SYLLABLES
STEP 1 – DHA
STEP 2 - DHIN STEP 3 - DHIN STEP 4 - DHA
(Clap)
STEP 5 – DHA
(Clap)
STEP 9 – DHA
STEP 10 – TIN STEP 11 - TIN STEP 12 - TA
(wave)
STEP 13 – TA
(Clap)
STEP 17 – Dha
(Clap)
Repetition of step 1 to complete one avartan. 58

CHAPTER 6
TAAL
• Taal measures time in music.

• One unit of time is called matra.
• Theka are prescribed set of bol-s.
• Regularity is the key word in rhythm.
• There are 3 main different laya-s.
Beat, emphasized beat, divisions, tempo, regularity.
Dadra Taal
https://www.youtube.com/watch?v=AZ8DRXokFvA
Keherwa Taal
https://www.youtube.com/watch?v=MUlbYTUUaPA
Teentaal
https://www.youtube.com/watch?v=9YfMwZIJ-JE
59
CHAPTER 6
TAAL
1. Fill in the blanks with the appropriate terms.

a) ____________ is the counting of time in music.
b) ____________ is a cycle of sixteen beats.
c) The symbol ‘X’ in a taal is known as the ____________ .
d) Taal keherwa has two ____________ .
e) The term used to denote an unaccented beat is ____________ .
2. Indicate whether the following statements are true T or F

false.
a) Taal is the term used for dance.
b) The sam is a sub dominant note.
c) The action of clapping the first beat of a taal indicates a sam.
d) Dusri is the name given to an empty beat of a taal.
e) There are 10 beats in taal keherwa.
3. Fill in the missing alphabets to complete the words below.

Hints have been given.
a) B _ L (Syllable)
b) K_ _ _R_A (8 beats)
c) A___T_N (Complete cycle)
d) V_L_M_I_ (slow)
e) D_ _T (fast)
60
CHAPTER
CHAPTER 7 7
NOTATION SYSTEM IN INDIAN MUSIC
notation system in indian music
• Interpret the different signs and symbols used in notation system.
• Write in notation prescribed composition with correct taal signs.
• Notate the theka-s of taal-s prescribed.
• Write the musical composition with correct punctuations as devised by Pt.V.N
Bhatkhande.
62
CHAPTER 7
7.0 NOTATION SYSTEM IN INDIAN MUSIC
Different forms of musical composition exist for vocal music, instrumental music
and dance. In traditional teaching, these compositions were taught orally.
However, when music teaching was brought into institution, there was a need
to put those compositions in written form. Thus, at the end of the 19th Century,
two famous musicologists, namely Pt. V. N. Bhatkhande and Pt. V. D. Paluskar
came up with two different notation system.
Importance
1. Notation is a means of preserving musical materials.
2. It helps in the transmission of knowledge.
3. It helps to standardize teaching and learning of music.
4. It helps students to memorize the musical compositions.
In 1901 Pt. V. D. Paluskar founded the

‘Gandharva Mahavidyalaya’ in Lahore
Pt. Bhatkhande established the ‘Bhatkhande Music

University’ in Lucknow in 1926.
7.1 BHATKHANDE’S NOTATION SYSTEM
1. S, R, G, M, P, D, N These are shudh swar-s (natural notes).
2. R G D N These notes are underlined to represent

komal swar-s (flat notes).
3. M A vertical dash above this note shows that

the note is tivra (sharp);
62
CHAPTER 7
4. X, 0, 2, 3 “X” represents the first and most accented

beat of a taal. It is called “Sam” and
is denoted by clapping of hands . “0”
represents “khali”, the unaccented beat of
a taal. It is shown by waving of hand. “2”,
“3” represent other accented beats of a
taal. They are known as “dusri” and “teesri”
and are shown by clapping of hands.
5. D, D A dot below a note indicates a note is in

the mandra saptak (low scale) whereas
if a dot is placed above the note it means
that it is in the taar saptak (high scale).
Notes without dots are found in the
madhya saptak (middle scale).
6. SR The arc below the two notes indicates that

the two notes are being sung in one beat.

7. P G An arc placed above two notes indicates

a ‘meend’ that is the first note is being
sung with the glide to touch second one.
8. S A dash placed after a note means that the

note is prolonged by one matra (beat).
9. E ʃ ri ʃ The symbol ‘ʃ ’ is known as an avagraha,

and it means that the word in a ‘bandish’
(composition) is prolonged by one beat.
10. MR A note above another one is called ‘kan

swar’. Here the note ‘Re’ is being sung
with the help of the note ‘Ma’.
63
CHAPTER 7
Bhatkhande notation system

https://www.youtube.com/watch?v=Hojrjsvs3oM
BRAIN TEASER
How do we call this notation system?
Activity 1:
STUDY THE COMPOSITION BELOW AND ANSWER THE
QUESTIONS THAT FOLLOW.
Ḍ - S - R - - G GP DṠ Ṙ Ṡ D P G G
Maa ʃ ʃ ʃ Tou ʃ hai ʃ daʃ yaʃ ki ʃ sa ʃ ga ra
x 0 x 0
1. What does ‘Ḍ’ indicate?

2. What does R - - in the second column indicate?
3. What is the difference between ‘S’ and ‘Ṡ’ in the above phrase?
4. What does the sign ‘ʃ ’ stand for?
5. How many ‘avartan-s’ are there in the phrase?
6. In which taal is the above musical phrase set?
7. Explain why we have more than 4 swar-s in the third column.
8. In which raag is the musical phrase set?
64
CHAPTER 7
• 2 notation sytems in Hindustani music are:

- Bhatkhande system
- Paluskar system
• Bhatkhande’s notation sytem is easier and more
popular, hence mostly used in Hindustani music.
Preserve, standardize, memorize.
1. Fill in the blanks with the appropriate words.

a) The symbol ‘ʃ ’ is known as ______________.
b) Natural notes are also known as ______________.
c) Flat notes are known as ______________ ______________.
d) When a note is prolonged, it is represented by a ___________.
e) A dot above a note shows that the note is in ______________ saptak.
2. How is a glide between two notes called in Hindustani music?
3. What is a kan swar?

a) Flat notes are designated with a vertical dash above.
b) The symbol ‘x’ represents an unnacented beat.
c) An avagraha is used to write a prolonged word in a composition.
d) Sharp note is also known as tivra swar.
65
CHAPTER 7
NOTES
66
CHAPTER 8
MUSICAL FORMS
• Elaborate on the following terms:
Sargam geet, khayal, bhajan and patriotic songs.
• State the importance of the thematic songs as a singing form.
• Demonstrate appreciation of various forms of singing.
• Demonstrate willingness to sing individually and in group the vocal forms.
CHAPTER 8
MUSICAL FORMS
8.0 MUSICAL FORMS
In this chapter, you will learn about some musical forms and their distinctive
characteristics. You will have the opportunity to discover new and different forms
of music compositions.
8.0.1 SARGAM GEET
Sargam geet is a composition 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

using the musical notes X 2 O 3
(S,R,G,M,P,D,N) as lyrics. It is Sthayi

G P D N
composed in a specific raag and
Ṡ _ Ṡ _ Ṡ N D P M G M R G M P G
set to a particular taal.It can also
M G R S D N Ṡ N D P M G
be called a singing exercise with X 2 O 3
notes. Antra
P P D N
Ṡ _ Ṡ _ Ṡ Ṙ Ġ Ṁ Ġ Ṙ Ṡ _ Ġ Ṙ Ṡ N
D P M P D N Ṡ N D P M G
X 2 O 3
8.0.2 KHAYAL
The word “khayal” in Persian language

means “idea” or “imagination”. This form
of music uses a variety of improvisations.
It is generally an abstract and complete
presentation of the raag and is probably
the most improvised style in Indian music.
There are two forms of khayal: Bada or
vilambit khayal, due to the laya at which
this form is presented and chota khayal or
madhya laya.
Ustad Rashid Khan
68
CHAPTER 8
MUSICAL FORMS
8.0.3 BHAJAN
Bhajan refers to songs with religious or

spiritual themes, sung in praise of God.
A bhajan has no set rules and emphasis
is more on bhakti (devotion). Lyrics are
important and some bhajans are based on
raaga-s.
8.0.4 PATRIOTIC SONG
The themes of a patriotic song revolve

around the history, culture, traditions, and
struggles of the people of a particular
nation. A patriotic song depicts the love
and respect that citizens have for their
motherland. “Vande mataram” is a very
good example of a patriotic song.
• Sargam geet has no lyrics.

• Bada Khayal is sung in vilambit laya.
• Vocal forms can either be classified as
classical or popular.
69
CHAPTER 8
MUSICAL FORMS
Thematic songs, patriotic songs,

religious songs.
Sargam geet
https://www.youtube.com/watch?v=S67tTwLH4tE
Chota khayal
https://www.youtube.com/watch?v=F2VO98R8iKs
Bhajan
https://www.youtube.com/watch?v=-7Rx4AxxcYQ
Patriotic song
https://www.youtube.com/watch?v=yLA2cxq7DV8
Festive song
https://www.youtube.com/watch?v=87FYp3YLEBM
Nature song
https://www.youtube.com/watch?v=DrkLyZeKTV8
1. Fill in the blanks with the appropriate terms.
a) Another name for sargam geet is ______________.
b) A ______________ is sung in praise of God.
c) The word ‘khayal’ means ______________.
d) The song “ Mauritius hain desh hamara” is a good example of
______________ song.
70
CHAPTER 8
MUSICAL FORMS
2. Identify the different pictures and write the correct musical

form in the space provided below.
71
CHAPTER 8
MUSICAL FORMS
NOTES
72
CHAPTER 9
CHAPTER 2
NAAD
Classification of musical instruments
• State the different categories in the classification of musical instruments.
• Classify the various types of musical instruments.
• Identify sound produced by different categories of instruments.
• Demonstrate a keen interest in how the sound produced by different categories
of musical instruments differ from one another.
72
CHAPTER 9
CLASSIFICATION OF MUSICAL INSTRUMENTS
9.0: INTRODUCTION
Musical instruments have existed since ancient times with the evolution of
humans. They have been used for ancient rituals, like the trumpet which was
used to signal success on the hunt, or the drum used for religious ceremonies.
Some of the oldest instruments were made from animal skins, animal bones and
wood. According to the Natyashastra of Bharat Muni, there are four categories
of musical instruments namely:
1. Sushir Vadya (Aerophone)
2. Tat Vadya (Chordophone)
3. Avanadh Vadya (Membranophone)
4. Ghan Vadya (Idiophone).
74
CHAPTER 9
9.1 CLASSIFICATION
• SUSHIR VADYA – (AEROPHONE)

Sushir vadya is also called aerophones, or blown instruments. These instruments
are usually made of bamboo, wood or metal and have an air column with holes
and should be blown or pumped in order to produce sound. Some examples
are: flute, bansuri, shehnayi, shankh, harmonica, trumpet, saxophone and
harmonium among others.
Flute Trumpet
ACTIVITY 1
Together with your friends try to find out other blown instruments
which are used in music.
NOTE
Over twenty thousand years ago primitive

man noticed
that a piece of hollow
cane or dried up fruit shell could make a
sound if blown in a certain way.
75
CHAPTER 9
• TAT VADYA (CHORDOPHONE)

Tat vadya is also called chordophones, or stringed instruments. It is believed that
string instruments were formed by the bow of Lord Shiva. These instruments
are usually made of wood and metal and consist of one or several strings.
Accoustic Guitar Sitar
This category is divided into three parts

depending on the way it is played:
• Plucked instruments such as the

Sitar, Veena and the Guitar.
• Bowed instruments such as the Sarangi

and the Violin.
• Hammered instruments such

as the Santoor.
76
CHAPTER 9
• AVANADH VADYA (MEMBRANOPHONE)

Avanadh Vadya are membranous percussive instruments having struck
membranes and typically comprise the drums. Some examples of this category
are the tabla, the pakhawaj, the mridangam, the dholak, the damaru and the
drum set among others.
Tabla Drum Set
ACTIVITY 2
Find out about the origin of the Tabla.
• GHAN VADYA (IDIOPHONE)

Ghan Vadya are non-membranous percussive instruments having solid
resonators and mostly made of heavy metal. Some examples of this category
are the cymbal, the manjira and the famous Mauritian instrument ‘triangle’.
Manjira Triangle
77
CHAPTER 9
A fifth category of musical instruments has been added, known as electronic

musical instruments. Nowadays due to new technologies, most acoustic
instruments have their electronic version which are considered as user-friendly
by musicians and singers.
Examples of electrophones are:
Electronic Tanpura Electronic Taalmala
Electronic Keyboard
78
CHAPTER 9
The keyboard instrument is another

modern invention of the twentieth
century. The term ‘keyboard instrument’
may be applied to any
instrument equipped with a
keyboard that produces
various electronic sounds of
acoustic instruments.
ACTIVITY 3 - Matching
MATCH THE FOLLOWING INSTRUMENTS TO THEIR RESPECTIVE
CATEGORY.
MEMBRANOPHONE
IDIOPHONE
AEROPHONE
CHORDOPHONE
79
CHAPTER 9
ACTIVITY 4: WHICH INSTRUMENT AM I?
TICK THE CORRECT NAME OF THE INSTRUMENT.
drum keyboard recorder organ

dholak guitar notes piano
tabla banjo maracas violin
bansuri accordion maraca triangle

recorder piano cymbals bass
piccolo harmonium banjo oboe
zither tambourine cornet banjo

trumpet harp trombone violin
drum music piano keyboard
xylophone santoor clarinet

cymbals bass triangle shehnai
organ clarinet harmonium
80
CHAPTER 9
• Musical instruments are classified into 4 categories:

- Aerophone (Sushir Vadya)
- Chordophone (Tat Vadya)
- Membranophone (Avanadh Vadya)
- Idiophone (Ghan Vadya).
• Electrophone is the new category added due to

technological progress.
Aerophone, chordophone, membranophone, idiophone, electrophone.
Links
Classification of musical instruments:

https://www.youtube.com/watch?v=SgV6X3KenGA
81
CHAPTER 9
1. Fill in the blanks with appropriate words.

a) The harmonica can be classified as ______________.
b) Stringed instruments are also known as ______________.
c) Aerophones are known as ______________ ______________.
d) Idiophones are made of heavy ___________.
e) Animal skin is used in the fabrication of ______________.
2. How many main categories do we have in the classification of

musical instruments?

a) Sticks are used in the playing of drum set.
b) The ‘Triangle’ is a famous Mauritian music instrument.
c) Electronic tanpura can replace the tabla.
d) The electronic keyboard is an invention of modern
technology.
e) Membranophones are also known as avanadh vadya.
4. Fill in the missing alphabets to complete the words below. Hints

have been given in bracket.
a) A __ __ O __ __ O__ __ (wind)
b) E__ __ __ __R __ __ __ __ __E (modern)
c) M __ __ J __ __ A (made of metal)
d) T__ __ V __ __ __ A (Chordophone)
e) I__ I__ __ __O__ E (heavy metal)
82
Glossary of terms
AHAT Struck sound
ACHAL Fixed notes
ALANKAAR Musical exercise to train the voice
ANAHAT Unstruck sound
ANTRA The second part of a composition also known as couplet
ANUVADI Supporting note (assonant)
AROHA Ascending order of notes
ASHTAK Scale with eight notes (S R G M P D N S)
AVAGRAHA The symbol ʃ used to prolong words by one or more beats
AVARTAN One revolution of a tala starting from sam and ending on sam
AVROHA Descending order of notes
BANDISH Musical composition
CHAL Movable notes
DHAIVAT Full name of the note 'Dha'
Full name of the note 'Ga'

GANDHAAR
Number of notes used in aroha or avroha
JATI
Grace note
KAN
The unaccented beat of a tala
KHALI
Flat note
KOMAL
Speed or tempo
LAYA
83
Glossary of terms
MADHYAM Full name of the note 'Ma'
MANDRA SAPTAK Low scale
MATRA one unit of time, beat
MEEND Unbroken flow of a musical progression, from higher to lower

notes
NAAD Sound
NISHAAD Full name of the note 'Ni'
ODAV Jati of raga using five notes
PAKAD An important musical phrase of a raga
PANCHAM Full name of the note 'Pa'
RAAG Melodic structure of notes
RHYTHM Regularity
RISHABH Full name of the note Re
SADHNA Practice
SAMPOORNA Jati of Raga using all 7 Notes
SAMVADI Second most important note
SANGEET Mixture of singing, dancing and playing of instruments
SAPTAK Scale of seven notes
SARGAM Notes being sung by pronouncing their brief names
SHADAJ Full name of the note 'Sa
SHADAV Jati of Raga using 6 notes
84
Glossary of terms
SHRUTI Microtone
SHUDHA Natural or basic
STHAYI The first part of a composition
SWAR Musical note
TAALI Emphasised beats of a tala
TAAR SAPTAK High octave
TAAL Cycle of beat
THATA Parental scale under which ragas are classified
THEKA Pure syllable of a tala
TIVRA Sharp
VADI Most important note in a raga
VARJIT Unused or omitted note
VIBHAAG Division in a tala
VIKRIT Variant
Foreign note used to enhance beauty of a raga

VIVADI
85
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ISBN: 978-99903-39-87-1

Vocal Hindustani Grade 7

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Vocal Hindustani

MAHATMA GANDHI INSTITUTE

Quality Vetting Team

MAHATMA GANDHI INSTITUTE

All rights reserved.No part of this publication may be reproduced, stored in a

T-Printers Co. LTD

First published 2018

Dr A.S. Peruman - Panel Co-ordinator

Word Processing Operator

Mrs S. N Gayan, GOSK, Director General, Mahatma Gandhi Institute and

Dr (Mrs) V Koonjal, Director, Mahatma Gandhi Institute, for her unwavering

Quality Vetting Team maeT gnitteV ytilauQ

Administrative Staff ffatS evitartsinimdA

Traditionally, music teaching takes place in a one-to-one mode. The piano

The Performing Arts Curriculum is articulated around four strands: Performing,

I hope that this

2. Provide learning experiences that include opportunities for hands-on

8. Enrich the musical experience of the students by gaining an understanding

14. Discuss student performances by using peer assessment as a tool.

maeT gnitteV ytilauQ

Define swaras and all other terms related to swaras

Identify and write the nomenclature of the basic swaras together

with the twelve consecutive swaras

Notate swaras of the three main saptaks

Differentiate between swar, saptak and alankaar

Sing the seven shudh swaras in tune

Define the term alankaar

Sing alankaars with musical notes in different saptaks

CHAPTER 4 VOICE CULTURE 31

CHAPTER 6 TAAL, LAYA AND PADHANT 53

CHAPTER 8 MUSICAL FORMS 66

CHAPTER 9 CLASSIFICATION OF MUSICAL

1.0 INTRODUCTION TO MUSIC

‘MUSIC’ is an art form which is expressed through beautiful sounds.

1.0.1 IMPORTANCE OF MUSIC IN LIFE

1.0.2 TYPES OF MUSIC

There are three main types of music around the world:

1.2 MUSIC AROUND THE GLOBE

1.2.1 WESTERN MUSIC

1. Blues was initially folk music genre that has emerged as

2. Country music is a form of a popular music that

4. Hip-hop or rap music, is a music genre that developed

1.2.2 AFRICAN MUSIC

BAMBOO PAN FLUTE GOURD XYLOPHONE DJEMBE

1.3 MUSIC IN MAURITIUS

Mauritius is part of the African continent. However, our population is made up

The most typical instruments used for the sega are:

THE RAVANNE THE TRIANGLE

Ti Frère the famous sega singer, who

2. THE BHOJPURI FOLK MUSIC –

However, bhojpuri music became famous through a ceremony called ‘geet

LOTA AND SPOON DHOLAK KARTAAL

The UNESCO inscribed the ‘sega tipik

1.4 INDIAN MUSIC (SANGEET)

1. HINDUSTANI MUSIC – Hindustani music is the form of Indian classical

2. CARNATIC MUSIC - Ancient classical music of South India is known as

Sangeet is defined as “geetam, vaadyam tatha nrityam trayam sangitam

Vocal music is considered to be the leader

• Music is an art form related to sound.

Samaveda, classical music, folk music, Hindustani and Carnatic

Western Classical music

1. Fill in the blanks with the appropriate words.

2. Explain how we recognize folk music.

3. In which year did Hip-Hop music became famous?

1. Two types of naad are and .

a) Natural notes are known as _ _.