Tonal Sequences
Musical Notes
S=Shadaj R=Rishabh G=Gandhar M= Madhyam P=Pancham D=Dhaivat N=Nishad
Achal Swara/ Static Notes- S & P
Vikrit Swara-
1. Komal Swaras/ Flat notes- R G D N
2. Teevra/Sharp notes- M
Cernatic equivqlent Hindustani notes-
Hindustani Cernatic
Shadaj Shadaj
Komal Rishabh Shuddha Rishabh
Shuddha Rishabh Chatashruti Rishabh/ Shuddha Gandhar
Komal Gandhar Shatashruti Rishabh/ Sadharan Gandhar
Shuddha Gandhar Antar Gandhar
Shuddha Madhyam Shuddha Madhyam
Teevra Madhyam Prati Madhyam
Pancham Pancham
Komal Dhaiva Shuddha Dhaivat
Shuddha Dhaivat Chatashruti Dhaivat/ Shuddha Nishad
Komal Nishad Shatashruti Dhaivat/ Kaishiki Nishad
Shuddha Nishad Kakli Nishad
Total=12 Total=16
Full Abbre Notate Notes, in Notes, in Comparable Comparable
Nomenclatur viation d as western western sounds of sounds of
es of the s Used Solfa Staff Animals/Birds Animals/Birds
Musical notation notation (Sanskrit (English Name)
Notes name)
(Indian)
Shadaj Sa S Do C Mor Peacock
Rishabh Re R Re D Papeeha Hawkcuckoo
Gandhar Ga G Me E Bakara Goat
Madhyam Ma M Fa F Bagula Heron
Pancham Pa P So G Koyal Cuckoo
Dhaivat Dha D La A Dadur Frog
Nishad Ni N Si/Ti B Hathi Elephant
First Half/ Tetrachord II Half/ TEtrachord
S R G M P D N S
Shuddha Swar/ Full Tones=7-
S 4 R 3 G 2 M 4 P 4 D 3 N 2 S
Half Tones=12
S 2 R 2 R 2 G 1 G 2 M 2 M 2 P 2 D 2 D 2 N 1 N 2 S
Microtones/ Shruti= 2+2+2+1+2+2+2+2+2+2+1+2=22
Shuti- Shrooyante iti Shrutih= The frequency, that can be heard or experienced by human year, is
“Shruti”. Micro divisions of the musical notes. Can not be performed directly in singing or instrumental
music. Thet can be used in the embellishments, mainly with Meend.
Interval of Frequencies- (Full Tone)
S R G M P D N S
240 270 300 320 360 405 450 480
Interval of Frequencies- (Half Tone)
S 2 R 2 R 2 G 1 G 2 M 2 M 2 P 2 D 2 D 2 N 1 N 2 S
240 255 270 285 300 320 340 360 382.5 405 427.5 450 480
M= Ardhwadarshak Swar
The five categories of Shruties producing different Rasas/sentiments, are-
No. Shruties Rasas
1 Deepta Adbhut, Veer and Roudra Rasas
2 Ayata Hasya Rasa
3 Mridula Shringar Ras
4 Madhyata Shringar, Hasya
5 Karuna Karun, Veebhatsa, BhayanakRasas
Nine principle moods (Nava Rasa Theory) or the sentiments are considered to be involved in
music and art, known as “Rasas” in Indian style of music. Out of those, only five Rasas
(sentiments) can be shown through vocal and instrumental music. But all the nine sentiments
(Rasas) can be involved in Dance and dramatics, and then various emotions (Bhavas) can be
derived from the Rasas. The list is briefed below-
N Rasa Mood Bhava (emotion)
o. (sentiment)
1 Shringar Rasa Sense of decoration or Embellishment/beauty/decoration/
beauty/Erotic ornamentation
i Sanyog Beauty with physical presence Physical decoration/beauty
Shringar
ii Viyog Shringar Imagination for being together Mental beauty
with the partner & enjoying the
company
iii Vipralambh To pretend to get angry with the Roothana-Manana
Shringar partner
2 Veer Rasa Heroic Bravery
3 Karun Rasa Pathetic Karuna
4 Adbhut Rasa Marvelous or Wonderment Beyond/Exceed Expectation
5 Shant Rasa Peaceful Peace, Tranquility
6 Bhayanak Rasa Fearful Fear, Frightening
7 Veebhatsa Rasa Disgusting Disgustful
8 Roudra Rasa Mood of anger Anger/Unhappiness
9 Hasya Rasa Comic Laughter
Out of the above list, the five Rasas, wich can be applicable in vocal and instrumental music are-
1. Shringar Rasa (all kinds) 2. Veer Rasa 3. Karun Rasa 4. Adbhut Rasa 5. Shant Rasa
System of 72 Melkartas (Scales)- (6 Phrases, possible in the I-Half and 6 in the II-Half, by
changing the position of notes)
I-Tetra chord II-Tetra chord
1.
S R G M P D N S
2.
S R G M P D N S
3.
S R G M P D N S
4.
S R G M P D N S
5.
S R R M P D D S
6.
S G G M P N N S
Scales-
1. S R G M P D N S 4. S R G M P D N S
2. S R G M P D N S 5. S R G M P D D S
3. S R G M P D N S 6. S R G M P N N S
22. S R G M P D N S
7. S R G M P D N S 23. S R G M P D D S
8. S R G M P D N S 24. S R G M P N N S
9. S R G M P D N S
10. S R G M P D N S 25. S R R M P D N S
11. S R G M P D D S 26. S R R M P D N S
12. S R G M P N N S 27. S R R M P D N S
28. S R R M P D N S
13. S R G M P D N S 29. S R R M P D D S
14. S R G M P D N S 30. S R R M P N N S
15. S R G M P D N S
16. S R G M P D N S 31. S G G M P D N S
17. S R G M P D D S 32. S G G M P D N S
18. S R G M P N N S 33. S G G M P D N S
19. S R G M P D N S 34. S G G M P D N S
20. S R G M P D N S 35. S G G M P D D S
21. S R G M P D N S 36. S G G M P N N S
These 36 scales will be possible with the application of Shuddha Madhyam and another set of 36
scales will be possible with the application of Teevra Madhyam. And thus 36+36=72 scales/
Melkartas are possible, introduced by Pt. Venkatmukhi, a musicologist of cernatic style of music.
32 Scales of Hindustani system-
System of 32 Scales- (4 Phrases, possible in the I-Half and 4 in the II-Half, by changing the
position of notes)
I-Tetra chord II-Tetra chord
1.
S R G M P D N S
2.
S R G M P D N S
3.
S R G M P D N S
4.
S R G M P D N S
Scales-
1. S R G M P D N S 17. S R G M P D N S
2. S R G M P D N S 18. S R G M P D N S
3. S R G M P D N S 19. S R G M P D N S
4. S R G M P D N S 20. S R G M P D N S
5. S R G M P D N S 21. S R G M P D N S
6. S R G M P D N S 22. S R G M P D N S
7. S R G M P D N S 23. S R G M P D N S
8. S R G M P D N S 24. S R G M P D N S
9. S R G M P D N S 25. S R G M P D N S
10. S R G M P D N S 26. S R G M P D N S
11. S R G M P D N S 27. S R G M P D N S
12. S R G M P D N S 28. S R G M P D N S
13. S R G M P D N S 29. S R G M P D N S
14. S R G M P D N S 30. S R G M P D N S
15. S R G M P D N S 31. S R G M P D N S
16. S R G M P D N S 32. S R G M P D N S
10 Thaats (Scales) and their corresponding nomenclatures in the Cernatic style of music-
Sl No. Name of the Thaats Permitted notes Corresponding Nomenclature,
in Cernatic style of music
1 Bilawal (Shuddha S R G M P D N S DheerShankarbharanam
scale of Hindustani
system)
2 Bhairav (Shuddha S R G M P D N S Mayamalav Goul
scale of Cernatic
system)
3 Kalyan S R G M P D N S Kalyani
4 Khamaj S R G M P D N S Harikambojhi
5 Kafi S R G M P D N S Kharahapriya
6 Asawari S R G M P D N S Nat Bhairavi
7 Bhairavi S R G M P D N S Hanumat Todi
8 Poorvi S R G M P D N S Kamvardhini
9 Todi S R G M P D N S Shubhpantuvarali
10 Marawa S R G M P D N S Ganshri
Saptak (Octave)- Bunch of seven notes
Swar- Musical notes- S R G M P D N
Octave- S R G M P D N S
Rhythmic stream of music
Elements-
1. Mathematics
2. Leterature
3. Science
4. Art
Units-
Matra- beat. The smallest unit of the Taal (Varnochcharan Kalastu, matra iti abhidheeyate)
Laya- Rhythm- having equal intervals of time between the beats (Kriyanantarvishrantirlayah)
Vibhag (Anga)- Divisions to structurize the taal
Sam (Samam)- First Matra of the Taal (Fixed Position)- (X)
Taali- (Tatt)- Sashabda Kriya (Action with sound)- No. of stresses, beneath the notes.
Khali- (Visarjana/Vissa)- Nihshabda Kriya (Action without sound)- (0)
Kinds of Rhythm (speed)-
1. Vilambit Laya- (Slow speed)-
Sub Parts-
i. Ati Vilambit (very slow)
ii. Madhya Vilambit (Medium slow)
iii. Drut Vilambit (Fast Slow)
2. Madhya Lay (Medium speed)-
Sub parts-
i. Vilambit Madhya (Slow-medium)
ii. Madhya-Madhya (Medium-medium)
iii. Drut Madhya (Fast-Medium)
[Link] Laya-
Sub Parts-
i. Vilambit Drut (Slow-fast)
ii. Madhya Drut (Medium-Fast)
iii. Anu Drut (Very Fast speed)
Taal- Tandav+Lasya. Rhythmic cycle. Rondo action. (Talah Kalah Kriyamanam)-
1. For Accompaniment
2. For Solo Performances
Tritaal/teentaal (Medium speed)-
Matra- 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Theka-Dha dhin dhin dha dha dhin dhin dha Dha tin tin Ta Ta dhin dhin Dha
Stress-X 2 0 3
Caregories of musical forms
1. Classical music (Shastreeya Sangeet)- Dhupad, Dhamar, Bada Khayal, Chhota Khayal styles
of singing and Maseetkhai & Razakhani Gats of instrumental music
[Link] Cllasical music (Up Shastreeya Sangeet)- Tarana, Thumri Styles of singing
[Link] Music (Sugam Sangeet)- Bhajan, Ghazal Geet, Qawwali, Film Songs and Dhun of
instrumental music)
4. Folk Music (Lok Sangeet)- Popular in different regions/states-
i.e.- Chaiti, Kajari, Biraha, Choumasa in U P and Bihar.
Baul in Bangal
Chirmi, momal, Kajalio, Ghoomar, Kalbeliya etc. in Rajasthan
Bhangada in Punjab
Pahadi in Hills areas
And many more
TAALS – Suitable for various forms
Khemta- (3 beats) for Folk music- Regional songs
1 2 3
Dhete dhina tina
X
Dhumali- (4 beats) for folk music- Regional songs
1 2 3 4
Dhate tedhe tete dhina
X
Ardh Jhaptaal (5 beats)- for folk music- Regional songs
1 2 3 4 5
Ti Na Dhi dhi na
X 2
Dadara Taal- (6 beats)- for light music- Bhajan, Ghazal, Quawwali, Film songs
1 2 3 4 5 6
Dha dhi na dha Tu na
X 0
Roopak- (7 beats)- Common for light & Classical music (Chhota Khayal, Razakhani Gat, Bhajan, Ghazal,
Quawwali, Film songs)
1 2 3 4 5 6 7
Ti ti na dhi na dhi na
X 2 3
Teevra Taal- (7 beats)- for Dhupad singing
1 2 3 4 5 6 7
Dha din ta tete kata gadi gana
X 2 3
Kaharawa Taal- (8 beats)- for Light music- Bhajan, Ghazal, Quawwali, Film songs
1 2 3 4 5 6 7 8
Dha ge na ti na ka dhi na
X o
Vasant Taal- (9 beats)- for Classical music Dhruvapada Style of singing-
1 2 3 4 5 6 7 8 9
Dha dett dett thun thun tete kata gadi gana
X 2 3 4 0 5 0 6 0
Jhaptaal- (10 beats)- for classical category- Chhota Khayal singing and Razakhani Gat of Instru.
1 2 3 4 5 6 7 8 9 10
Dhi na dhi dhi na ti na dhi dhi na
X 2 0 3
Shooltaal/Shoolfakta Taal)- (10 beats)- for dhrupad singing
1 2 3 4 5 6 7 8 9 10
Dha dha din ta kit dha tir kit gadi gana
X 0 2 3 0
Rudra Taal (11 beats)- for Dhrupad singing
1 2 3 4 5 6 7 8 9 10 11
Dhi na dhi na ta ti na kat ta dhi na
X 2 0 3 4 5 0 6 7 8 0
Ektaal (12 beats)- (for Bada Khayal in slow speed, Chhota Khayal in medium speed, Tarana singing in
fast speed and with Razakhani Gat of instrumental music in medium and fast speed)
1 2 3 4 5 6 7 8 9 10 11 12
Dhin dhin dhage tirakita tu na kat ta dhage tirakita dhi na
X 0 2 0 3 4
Chartaal- (12 beats)- for Dhrupad singing
1 2 3 4 5 6 7 8 9 10 11 12
Dha dha din ta kit dha din ta tir kit gadi gana
X 0 2 0 3 4
Taal Trayodashi- (13 Matra)- For Dhruvapada style of singing
1 2 3 4 5 6 7 8 9 10 11 12 13
Dha dha din ta kit dha din ta kat tete kata gadi gana
X 0 2 0 3 4 0
Jhoomra Taal- (14 beats)- for Bada Khayal style of singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Dhin -dha tirkit dhin dhin dhage tirkit tin -ta tirkit dhin dhin dhage tirkit
X 2 0 3
Aada Chartaal- (14 beats)- for Chhota Khayal singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Dhin tirkit dhi na tu na kat ta tirkit dhin na dhin dhin na
X 0 2 0 3 4 0
Dhamar Taal- (14 beats)- for Dhamar singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Ka dhi ta dhi ta dha - Ga Ti ta ti ta Ta -
X 2 0 3
Deepchandi- (14 beats)- for Thumari style of singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Dha dhi - dha dha ti - ta tin - dha dha dhin -
X 2 0 3
Pancham Sawari Taal- (15 beats)- for Chhota Khayal style of singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Dhi na dhidhi kat dhidh nadhi dhina ti-kra tina tirkit tuna katta dhidhi nadhi dhina
X 2 0 3
Gajjhampa Taal- (15 beats)- for Dhrupad singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Dha dhin naka taka dha dhin naka tak tin naka taka tete kata gadi gana
X 2 0 3
Tilwada- (16 beats)- for Bada Khayal style of singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha tirkit dhin dhin dha dha tin tin ta tirkit dhin dhin dha dha dhin dhin
X 2 0 3
Tritaal/teentaal (16 beats)- for Maseetkhani Gat of instrumental music in slow speed, Razakhani
Gat of instrumental music, Chhota Khayal singing in medium speed and Taran in fast speed.
Matra- 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Theka-Dha dhin dhin dha dha dhin dhin dha Dha tin tin Ta Ta dhin dhin Dha
Stress-X 2 0 3
Addha Taal- (16 beats)- for Thumari style of singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha -dhi -ka dha dha -dhi -ka dha dha -ti -ka ta ta -dhi -ka dha
X 2 0 3
Tappa taal- (16 beats)- for Tappa singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha dhin -ta dhin dha dhin -ta dhin Ta Kat -ta kat na dhin -ta dhin
X 2 0 3
Jat Taal- (16 beats)- for Thumari singing
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha - dhin - dha dha tin - Ta - tin - dha dha dhin -
X 2 0 3
