Spardha

D i s c o v e r Y o u

INDIAN CLASSICAL
VOCALS

LEVEL - 1

Spardha School of Music

INDIAN CLASSICAL
VOCALS

A book by

Spardha Learnings Pvt. Ltd.

Copyright © 2020 Spardha Learnings Private Limited.

All rights reserved.
www.spardhaonline.com
 TABLE OF CONTENTS

CHAPTER 01 - DEFINITION OF MUSICAL TERMS

1 MUSIC
2 NOTES(SWAR)-SHUDDHA SWAR AND VIKRIT SWAR (KOMAL AND TEEVRA SWAR)
3 SHRUTI
4 NAAD
5 AAROH-AVROH
6 ALANKAR
7 SAPTAK(OCTAVE) AND ITS TYPES

CHAPTER 02 - BEGINNING OF VOICE CULTURE
1 PRACTICE OF SEVEN NOTES IN ANY ORDER

2 PRACTICE OF SHADAJ

CHAPTER 03 - PRACTICE OF SINGING ALANKARS

1 ALANKARS WHICH COVER ALL THREE OCTAVES (ALANKARS OF SHUDDHA SWAR)
2 SKIP NOTE ALANKAR
3 COMPARISIONOF ALL NOTES WITH SHADAJ,RISHABH ETC.
4 BREATHING EXERCISES
5 USE OF ALL NOTES OF A SAPTAK IN A DIFFERENT WAY
6 SOME MORE EXERCISES OF SHUDDHA SWAR
7 EXERCISES OF VIKRIT SWAR
8 EXERCISES OF ALL 12 NOTES

CHAPTER 04 - CONCEPT OF TAAL

1 TAAL
2 MATRA
3 LAYA
4 VIBHAG
5 SUM
6 TAALI
7 KHAALI / KAAL
7 AVARTAN
 TABLE OF CONTENTS

CHAPTER 05 - INTRODUCTION OF TAAL

1 DADRA TAAL, ALANKARS IN TAAL DADRA, SARGAMGEET IN TAAL DADRA

2 KEHERWA TAAL(THAAHLAYA), ALANKARS IN TAAL KEHERWA

3 TEENTAAL / TRITAAL(THAAHLAYA), ALANKARS IN TEENTAAL

4 NATIONAL ANTHEM ( BASED ON RAAG BILAWAL )

CHAPTER 06 - CONCEPT OF THAAT AND RAAG

1 THAAT AND ITS NOTES
2 RAAG AND ITS CHARACTERISTICS
3 VAADISWAR
4 SAMVADISWAR
5 ANUWADISWAR
6 VIVADISWAR
7 VARJITSWAR
8 NYASSWAR
9 RAAG JAATI
10 LAKSHANGEET
11 KHAYA
12 TAAN

CHAPTER 07 - RAAG BILAWAL

1 CHHOTA KHAYAL IN RAAG BILAWAL (MADHYALAYTRITAAL)
2 PRAYER BASED ON RAAG ALHAIYA BILAWAL

CHAPTER 08 - RAAG BHOOPALI / BHOOP

1 RAAG BHOOPSARGAMGEET
2 RAAG BHOOPLAKSHANGEET
3 RAAG BHOOPCHHOTA KHAYAL
4 SONG (GEET) BASED ON RAAG BHOOP
 TABLE OF CONTENTS

CHAPTER 09 - RAAG KAFI

1 RAAG KAFICHHOTA KHAYAL

2 BHAJAN IN RAAG KAFI

CHAPTER 10 - INTRODUCTION OF PANDIT VISHNU NRAYANBHATKHANDE

CHAPTER - 1
DEFINITION OF MUSICAL TERM
Spardha School Of Music

MUSIC - Music is a feel which can be expressed by Singing,playing any Musical

Instrument or with the help of Dance.

NOTES (SWAR) - 12 shrutis among 22 are known as Swar.

There are two types of Swar

A) ShuddhaSwar - Seven notes which makes an Octave are known
as ShuddhaSwars.
Sa - Shadaj, Re - Rishabh, Ga - Gandha, Ma - Madhyam, Pa - Pancham
Dha- Dhaivat , Ni – Nisha

B) VikritSwar - The Notes which are slightly lower or higher than the
Shuddha Swar are VikritSwars.
There are two types of VikritSwar
1) Komal Swar - The notes which are slightly lower than the ShuddhaSwar
are known as Komal Swars. There are four Komal swars- R , G , D and N

2) TeevraSwar - The note which is slightly higher than the ShuddhaSwar is

known as TeevraSwar. There is only one Swar which is Teevra and
the Swar is M.

N.B. We are writing the notes in short.

Example
Sa - S , Re - R , Ga - G , Ma - M , Pa - P , Dha - D , Ni - N.

• Shruti - The Naads which we can hear and can understand the difference be
tween them are known as Shruti.
• Naad - Any musical sound is a Naad.
• Aaroh-Avroh - Ascending order of notes is Aaroh and descending order is Avroh.
• Alankar - Combination of notes which has Aaroh and Avroh.
• Saptak(Octave) and its types - The set of seven notes ( S R G M P D N)
Is known as a Saptak.

There are 3 Saptaks (Octaves)

ṢṚ G̣ Ṃ P̣ Ḍ Ṇ - MandraSaptak (Lower Octave)

S R G M P D N - Madhya Saptak (Middle Octave)

ṡ Ṙ Ġ Ṁ Ṗ D˙Ṅ -TaarSaptak (Higher Octave)

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CHAPTER - 2
BEGINNING OF VOICE CULTURE
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1) Practice to sing 7 notes (shuddha) in any order (Keep the aakar perfect)

2) Practice of Shadaj (Take a deep breath before singing each note)

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CHAPTER - 3
PRACTICE OF SINGING ALANKARS
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ALANKARS FOR ALL 3 OCTAVES (ALANKARS OF SHUDDHA SWAR)

SṆ Ṣ S R S

SṆ Ḍ ṆSS R G R S

S Ṇ Ḍ P̣ Ḍ Ṇ SS R G M G R S

S R G M P M G R S

P M P P D P

P M G M P P D N D P

P M G R G M P P D N ṡN D P

P M G R S R G M P

ṡNṡṡ Ṙṡ

ṡND Nṡṡ Ṙ Ġ Ṙṡ

ṡN D P DNṡṡ Ṙ Ġ ṀĠ Ṙṡ

ṡ Ṙ Ġ Ṁ ṖṀĠ Ṙṡ

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SKIP NOTES ALANKAR

S R G M P M G R S

- R G M P M G R S

S - G M P M G R S

S R - M P M G R S

S R G - P M G R S

S R G M - M G R S

S R G M P - G R S

S R G M P M - R S

S R G M P M G - S

S R G M P M G R -

COMPARISION OF ALL NOTES WITH SHADAJ , RISHABH etc.

S R , S G , S M , S P , S D ,S N , S ṡ

ṡN , ṡD , ṡP , ṡM , ṡG , ṡR , ṡS

R G , R M ,R P , R D , R N , R ṡ , ṘṘ

Ṙṡ,ṘN,ṘD,ṘP,ṘM,ṘG,ṘṘ

AND SO ON…

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BREATHING EXERCISES
Take a deep breath and sing each note by extending it as much as possible and
then sing the cycle of Aaroh-Avroh once, twice thrice or more than that in one breath.

Aaroh - SR G M P D N

Avroh - ṡN D P M G R

USE OF EACH NOTE OF SAPTAK IN A DIFFERENT WAY

S R G M P D N ṡ N D P M G R S
SS R G M P D N ṡ N D P M G R S
S RR G M P D N ṡ N D P M G R S
S R GG M P D N ṡ N D P M G R S
S R G MM P D N ṡ N D P M G R S
S R G M PP D N ṡ N D P M G R S
S R G M P DD N ṡ N D P M G R S
S R G M P D NN ṡ N D P M G R S
S R G M P D N ṡṡ N D P M G R S
S R G M P D N ṡ NN D P M G R S
S R G M P D N ṡ N DD P M G R S
S R G M P D N ṡ N D PP M G R S
S R G M P D N ṡ N D P MM G R S
S R G M P D N ṡ N D P M GGR S
S R G M P D N ṡ N D P M G RR S
S R G M P D N ṡ N D P M G R SS

SOME MORE EXERCISES OF SHUDDHA SWAR

1) SS RR GG MM PP DD NN ṡṡ - AAROH

ṡṡNN DD PP MM GG RR SS – AVROH

2) SSS RRR GGG……

3) SSSS RRRR GGGG…..Similarly each note 5,6 and 7 times

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4) SRG RGM GMP MPD PDN DNṡ - AAROH

ṡND NDP DPM PMG MGR GRS – AVROH

5) SRGM RGMP GMPD MPDN…..

6) SRGMP RGMPD GMPDN…..

7) SRGMPD RGMPDN…..

8) SRGMPDN RGMPDNṡand avroh.

EXERCISES OF VIKRIT SWAR

In this Notation, each note has one matra (count). For the extension of notes , we have
used “-“ (avagrah) . To make it easier, we have divided it into bars (vibhag/khand)
of 4 matras in each vibhag.

(a) S - R - |G - - -|R - G - | - - - - |

P - M - |G - - -|D - P - |M - G -|

N - D - |P - M -|D - P - |M - G -|

R - G - | - - - - |P -R -|Ṇ R S - |

(b) Ṇ S G - |P P G M |N D - M|P D - M|

G - ṡ -|N D - M|P P M G |P - G M |G R S - |

(c) S - R - |S - Ṇ S|Ḍ - - Ṇ|Ḍ - P - |

Ṃ P̣ Ḍ - | Ṇ - S - |G - R - |G M P M|

G - R - |R - S -|G -M P|D - P - |

(d) Ṇ SR R |GG M M| P - - - | M P D M|

P G - R|R G R M|G R Ṇ S|N D M P |D M G R|

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EXERCISES OF ALL 12 NOTES

(a) S RRGG M M P DDNNṡ -Aaroh

ṡ N N D D P M M G G R R S - Avroh

(b) RRGG M M P DDNNṡṘand Avroh etc.

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CHAPTER - 4
CONCEPT OF TAAL
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TAAL – Taal is the foundation of music. It gives a base to vocal, instrument

playing or dance form

MATRA – The unit of measuring time in music is known as Matra.

LAYA - The speed of Taal is known as Laya.

VIBHAG – When we devide the phrases of the Taal with bars, it is called Vibhag.

SUM – First matra of a Taal is known as Sum. It is denoted by ‘X’.

TAALI – While showing the Taal with the help of our hands,we clap on some
matras. Those claps are known as Taali (except the 1stmatra).

KHAALI – The matras on which we don’t clap and wave our hands are
known as Khaali.

AVARTAN – Avartan means cycle. When we start counting any Taal from any matra
and come back to that matra ,it shows that one Avartan is completed.

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CHAPTER - 5
INTRODUCTION OF TAAL
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DADRA TAAL (THAAH LAYA)

Matra – 6 ,Vibhag – 2 , Each Vibhag has 3 matras , sum on 1stmatra and

khaali on 4thmatra .

Bol – DhaDhinNa |Dha Tin Na |Dha

X 0 x

(a) ALANKARS IN TAAL DADRA

SSS RRR GGG MMM…… and avroh

SRG RGM GMP MPD……and avroh

(b) SARGAM GEET IN TAAL DADRA (WITH SHUDDHA SWAR)

STHAYI

ṡ N D|D N ṡ|ṘṘṡ|N D P|
X 0 X 0

M G M|R G M |P G M|R R S|
X 0X 0

S S G|R SṆ|Ḍ Ṇ S|RR S|

X 0 X 0

G M G| R G M| P G M|R R S|
X 0 X 0

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ANTARA

P P D |Nṡṡ|ṡṘ Ġ|Ṙṡṡ|
X 0 X 0

ṡṘ ṡ|N D P |D N ṡ|N D P |
X 0 X 0

ṡṘ Ġ|Ṙṡṡ|N ṡN|D D P|
X 0 X 0

M G M| R G M| P G M|R R S|
X 0 X 0

KEHERWA TAAL (THAAH LAYA)

Matra – 8 ,Vibhag – 2 , Each Vibhag has 4 matras , sum on 1stmatra and

khaali on 5thmatra .

Bol –
DhaDhin Na Tin | Na Ka Dhin Na |Dha
X 0 x

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

(a) ALANKARS IN TAAL KEHERWA

SS RR GG MM……and avroh

SRGM RGMP GMPD……and avroh

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TRITAAL/TEENTAAL (THAAH LAYA)

Matra – 16 ,Vibhag – 4 , Each Vibhag has 4 matras , sum on 1st matra,2nd

clap on 5thmatra,khaali on 9thmatra and 3rd clap on 13thmatra.

BOL
DhaDhinDhinDha|DhaDhinDhinDha|Dha Tin Tin Ta|Ta DhinDhinDha|Dha
X 2 0 3 x

The Alankars of Keherwa can also be done in Tritaal.

NATIONAL ANTHEM (RAAG BILAWAL)

TAAL KEHERWA

S R G G| GGGG|G - G G|R G M - |
Ja Na Ga Na| Ma Na A Dhi|Naa - Ya Ka|JaYa He -|
X 0 x 0

G - G G| R –RR|Ṇ R S-|-- S–|

Bha - Ra Ta|Bha - Gya Vi|Dha - Ta -|- - Pan - |
X 0 x 0

P – P P| – P PP| P – P P| M D P -|
Jaa – Ba Sin| - Dha Gu Ja|Raa – Ta Ma|Raa – Thaa -|
X 0 x 0

M - MM| M - M G| R M G -| - - - -|
Draa - Vi Da| U T Ka La|Ban - Ga -|- - - -|
X 0 x 0

G - G G|G - G R| PPP -|M - M -|

Vin -Dhya Hi| Maa - Cha La|Ya Mu Naa -| Gan - Gaa -|
X 0 X 0

G - G G| R RRR| Ṇ R S -|- - - -|
U - Chha La|JaLa Dhi Ta| Ran - Ga -| - - - -|
X 0 X 0

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S R G G|G - G -| R G M -| - - - -|
Ta Ba Shu Bha|Naa - Me -|Jaa - Ge -| - - - -|
X 0 X 0

G M P P| PM MG|R M G -| - - - -|
Ta Ba Shu Bha| Aa - Shi Sha|Maan - Ge -| - - - -|
X 0 X 0

G - G -| R RRR|Ṇ R S -| - - - -|
Gaa - He -| Ta Ba JaYa|Gaa - Thaa -| - - - -|
X 0 X 0

P PPP|P - P P|P - P P| MD P -|
JaNa Ga Na| Man – Ga La|Daa – Ya Ka|JaYa He -|
X 0 X 0

M - M M|M - M G|R M G -| - -ṡN|

Bhaa - Ra Ta|Bhaa - Gya Vi|Dhaa - Taa -| - - JaYa|
X 0 X 0

ṡ- - -| - - N D| N - - -| - - P P| D - - -| - - - -|
He - - -| - - JaYa|He - - -| - -JaYa|He - - -| - - - -|
X 0 X 0 X 0

S SR R| GGR G| M - - -| - - - -|
JaYaJaYa|JaYaJaYa|He - - -| - - - -|
X 0 X 0
(Kaviguru Rabindra Nath Tagore)

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CHAPTER - 6
CONCEPT OF THAAT AND RAAG
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THAAT AND IT’S NOTES

Bilawal S R G M P D N

Kalyan S R G M P D N

Kafi S RG M P D N

Khamaj S R G M P D N

Asawari S RG M P DN

Bhairav S R G M P D N

Bhairavi S RG M P DN

Poorvi S R G M P D N

Todi S RG M P D N

Marwa S R G M P D N

RAAG AND IT’S CHARACTERISTICS

RAAG – It is a combination of notes which is pleasing to ears when performed by some

one and which has some set of rules.

CHARACTERISTICS OF RAAG
(a) It must have minimum 5 and maximum 7 notes.
(b) It must have Aaroh-Avroh and Pakad.
(c) Each Raag must have to be in aThaat.
(d) There should be Vadi and SamvadiSwar for each Raag.
(e) Shadaj is compulsory for any Raag.
(f) There must be either Madhyam or Pancham in a Raag or both.
(g) Two consecutive notes can not be skipped in any Raag.

VAADI SWAR – Most important note of a Raag which we use frequently while
performing that Raag,is known as VaadiSwar of that Raag.
Gandhar is the Vaadiswar of Raag Bhupali.

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SAMVAADI SWAR – The 2nd important note of a Raag is known as Samvadiswar.

Ni shad is the samvadiswar of Raag Khamaj.

ANUWADI SWAR – The remaining notes in a Raag except Vadi and Samvadiswars
are known as Anuwadiswars.

VIVADI SWAR – The swar which is not in a particular Raag but sometimes we
use the swar to make it more beautiful. TeevraMadhyam is
the Vivadiswar in Raag Bihag.

VARJIT SWAR – The note which is not in a particular Raag is known as

VarjitSwar.

NYAS SWAR – The notes on which we take pause while singing are
Nyasswars of that Raag.

RAAG JATI – Jati of a Raag depends on the number of notes present in that
Raag.

In Indian Classical music Raagas are devided into 9 Jatis

Audav-Audav 5 notes in Aaroh and Avroh both.

Audav-Shadav 5 notes in Aaroh and 6 notes in Avroh.
Audav-Sampoorna 5 notes in Aaroh and 7 notes in Avroh.
Shadav-Audav 6 notes in Aaroh and 5 notes in Avroh.
Shadav-Shadav 6 notes in Aaroh and 6 notes in Avroh.
Shadav-Sampoorna 6 notes in Aaroh and 7 notes in Avroh.
Sampoorna-Audav 7 notes in Aaroh and 5 notes in Avroh.
Sampoorna-Shadav 7 notes in Aaroh and 6 notes in Avroh.
Sampoorna-Sampoorna 7 notes in Aaroh and 7 notes in Avroh.

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LAKSHAN GEET – The Geet which tells the details of a Raag , is called LakshanGeet.

KHAYAL – Khayal is a Persian word which means imagination. If we sing

composition and do the improvisation like Aalap,Taan keeping the
rules of the Raag in our mind is known as Khayal.

There are two types of Khayal

(a) Chhota Khayal – We sing the Chhota Khayal in DrutLaya.

(b) Bada Khayal - We sing the Bada Khayal in VilambitLaya.

TAAN – When we sing a composition in a particular Raag then after the

composition we do some improvisation by making different combinations
of notes in DrutLaya (Fast Tempo) to make the performance more
interesting. Those combinations are known as Taans.

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CHAPTER - 7
RAAG BILAWAL
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Aaroh S R G M P D Nṡ

Avroh ṡ N D P M G R S

PAKAD G P D N ṡN D P,G P M G

VadiSwar D ,SamvadiSwar – G , Thaat – Bilawal , Jati – Sampoorna-Sampoorna

Time of singing – 2ndPrahar of Day (Afternoon) , Similar Raag – Alhaiya Bilawal

Chhota Khayal (Taal Tritaal , Medium tempo/Madhyalaya)

Sthayi Rab So Neha Lagao Re Manwa ,DujoNaahiSharanwaa

Antaraa SaanchSukhi Kou Jag Me NaaDeesat ,Har Rang MaanoVachanwaa

STHAYI

ṡṡD P| G M P M| G - G R| Ṇ R S -|
Ra Ba So -| Ne - Haa La|Gaa - O Re| Ma Na Waa -|
0 3 X 2

G R G P| N D N N|ṡṘṡ-| - - - - |
Du - Jo - |Naa - Hi Sha| Ra Na Waa -| - - - -|
0 3 X 2

ANTARAA

P - P P| N D N N|ṡṡṡṡ|DN ṡṘṡṡ|
Saan - Ch Su|Khi - Ko U|Ja Ga Me Naa|Dee- -- Sa Ta|
0 3 X 2

ṡ ĠṘ Ġ Ṁ |ĠṘĠṘ|N Ṙṡ -| - - - -|
Ha Ra- Ran Ga| Maa - No Wa|Cha Na Waa -|- - - -|
0 3 x 2

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Taan( From 9thmatra)

1) SR GR GM GM PM PD PD ND NṡṡN DN DP DP MP MG RS

2) SR GM RG MP GM PD MP DN PD NṡṡN DP ND PM GR S-

3) RR SS GG RR MM GG PP MM DD PP NN DD ṡṡNN ṘṘṡṡ

4) GR SM GR SP MG RS DP MG RS ND PM GR SṡND PM GR

5) SR GS RG MR GM PG MP DM PD NP DN ṡDNṡṘN ṡṘĠṡ

6) ṡNDṡND PN DP MD PM GP MG RM GR SG RS ṆR SṆ ḌS

PRAYER BASED ON RAAG ALHAIYA BILAWAL

(TAAL TRITAAL)

STHAYI

P PD NṡND|PM GRG P|M - - -| RG -R S -|

JaYa- - - Jaga| Di- - - Sha Ha| Re - - -| - - - - - -|
0 3 X 2

- S G M|M - P -| -M D N|P D P -|
- BhaKtaJa| No - Ka -| - San Ka Ta|Ksha Na Me -|
0 3 X 2

MG R G P| G - - -| P - G -| S - G M|
Du- - Ra Ka| Re - - -| Jo - Dhyaa -|Ve - Pha La|
0 3 X 2

P - P -|G M P D|ṡṘĠ Ṙ ṡ|NṡND PM GM|

Paa - Ve -| Du Kha Bi Na| Se- - Ma Na|Kaa- - - - - - -|
0 3 X 2

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ANTARA 1

- - ṡṡ|ṡNDNDP|M GR G P| D ṡ - -|
- - Su Kha| Sam- - - Pa Ti|GriHa- Aa - |Ve - - -|
0 3 X 2

- - D -|ṡṡṡṘĠ |Ṙ ṡNṡND| P - D ṡN|

- - Ka -|Shta Mi Te- -| Ta Na Kaa- - -| - - Maa - -|
0 3 X 2

D P DP D| MMGR G| S - - -| S SG M|
Taa Pi Taa- -| Tu Ma Me- -| Re - - -|Sha Ra Na Ga|
0 3 X 2

P - P - |DM P - -| G M D D| PD NDN|
Hun - Ki Sa| Ki- - - -| Tu Ma Bi Na| Au- - Ra Na|
0 3 X 2

DP D P -| G- P D|ṡṘĠ Ṙ ṡ|NṡND PM GM|

Du- - Jaa -| Aa - Sa Ka| Run- - Ji Sa| Ki- - - - - - -|
0 3 X 2

ANTARA 2

S SG -| GM P P|P D DP N| - D P -|
Tu Ma Pu -| Ra Na Pa Ra| Maa - Tmaa- -| - - - -|
0 3 X 2

P PD ṡ|ṡṡṡṘ Ġ | - - Ṙṡ-|ṡ- D N|
Tu MaAn -|Ta Ra Yaa- -| - - Mi- -|Paa - Ra Bra|
0 3 X 2

- D P D|PG M G R| SR G P| M G R G|
- Mha Pa Ra| Me- - Shwa Ra| Tu Ma Sa Ba|Ke - Swaa -|
0 3 X 2

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S - - -| S SR M| - - P P|P - P -|
Mi - - -|Tu Ma KriPaa|- - Ka Ru|Naa - Ke-|
0 3 X 2

PD ND P| - - - -| P PD ṡ|ṡṡṡṡ|
Saa- - Ga Ra|- - - -| Tu Ma Paa -|La Na Ka Ra|
0 3 X 2

ṡṘĠ - -| ṘṀ ĠṘ ṡ-|ṘN ṡN -| D P D G|
Taa- - - -|- - - - - -|Mai- - Mu -|Ra Kha Kha La|
03 X 2

R G S -| G P - D |ṡṘĠ Ṙ ṡ|NṡND PM GM|

Kaa - Mi -|KriPaa - Ka| Ro- - Bha Ra|Taa- - - - - - -|
0 3 X 2

ANTARA 3

S SG -| G - M R| G M P D|G P M -|
Tu Ma Hi -| E - Ka A| Go - Cha Ra| Sa Ba Ke -|
0 3 X 2

G - R G| S - - -| G M P P| P P - P|
Praa - Na Pa|Ti - - -| Ki Sa Vi Dhi| Mi Lun - Gu|
0 3 X 2

PD NN-| P PD Ṙ|ṡN D N| P - - -|
Saan- - I -|Tu Ma Ko -| Mai - Ku Ma|Ti - - -|
0 3 X 2

N- -D| P - D P| M G M P| M G - -|
Di - - Na|Ban - Dhu -|Du Kha Ha Ra|Taa - - -|
0 3 X 2

S - R G| M P M G| RS - - -| GM PD Nṡ -|
Tha - Ku Ra| Tu Ma Me -| Ro- - - -| - - - - - - -|
0 3 X 2

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ṡ-N D |P D M R| G P D ṡ|- - - -|
A - Pa Ne|Haa - Tha U|Thaa - O -| - - - -|
0 3 X 2

D - ṡṡ|ṡṘĠ Ṙ ṡ|NṡND P -|- - - -|

Dwaa - Ra Kha|Do- - Te -| Ro- - - - -| - - - -|
0 3 X 2

D N D P|P D M M|GR G S -|S - G M|

Vi Sha Ya Vi|Kaa- Ra Mi|Taa- - O -|Paa- Pa Ha|
0 3 X 2

P - P -| DMP - -|M - D -|D - NN|

Ro - De -|Vaa- - - -|Shra - Ddhaa -|Bha - Kti Ba|
0 3 X 2

DP D P -| G- P D |ṡṘĠ Ṙ ṡ|NṡND PM GM|

Dha- - O -|San - Ta Na| Ki- - Se -|Vaa- - - - - - -|
0 3 X 2

Jaya Jagdish Hare Bhakta Jano Ka SankatKshan Me Dur Kare

Jo Dhyawe Phal PaaveDukh Bin Se Man Kaa
SukhSamptiGrihAaweKashta Mite Tan KaaMaataPitaa Tum Mere Sharan GahunKiski ,
Tum Bin AurNaaDujaAasKaru Mai Jiski
Tum PuranParmaatmaa Tum AntaryaamiPaarbramhaParmeshwara Tum SabkeSwaami ,
Tum Kripa KarunaaKeSaagar
Tum Paalankartaa Mai MurakhKhalkaamiKripaa Karo Bharataa
Tum Hi EkAgocharSabkePraanpatiKis Vidhi MilunguSaainTumko
Mai KumatiDeenbandhuDukhHarataaThaakur Tum Mero ApneHaathUthaa-
oDwaarKhadoTero ,VishayaVikaarMitaaoPaapHaroDevaaShraddhaa Bhakti Bad-
haaoSantan Ki Sevaa.

Indian Classical Vocals - Level 1

CHAPTER - 8
RAAG BHUPALI
Spardha School Of Music

Aaroh – S R G P D ṡ

Avroh - ṡ D P G R S

PAKAD – G P D P G R S Ḍ S

VadiSwar – G ,SamvadiSwar – D , Thaat – Kalyaan , Jati – Audav-Audav

Time of singing – 1stPrahar of Night (Evening) , Similar Raag – Deshkaar

VarjitSwar – Madhyam and Nishaad

SargamGeet
(Taal Tritaal , Medium tempo/Madhyalaya)

Sthayi

P G R S| R Ḍ S R| G - P G| D P G G|
0 3 X 2

R G P D|ṡ Ṙ ṡD|ṡ P D P| G R S -|
0 3 X 2

ANTARAA

P G P D| P ṡ- ṡ| D DṡṘ|Ġ Ṙ ṡṡ|
0 3 X 2

Ġ ĠṘ ṡ|Ṙ D ṡP| D ṡD P| G R S R |
0 3 X 2

Ḍ S R G|R G P D|ṡ P D P| G R S -|
0 3 X 2

Indian Classical Vocals - Level 1

Spardha School Of Music

RAAG BHUP ( LAKSHANGEET)

STHAYI – Madhur Shaanta Rasa BhoopaRaagini , Ma Ni VarjitAudavSwaroopini

ANTARAA – ShuddhaSuran Ko Sab GuniGaawata , VaadiSamvaadi Ga Dha Ko

Banaawat , Samaya Nisa Prathama Budha Jana Sammata

STHAYI

D ṡD P| G R S R|G - D P| G R S - |
Ma Dhu Ra Shaan| - Ta Ra Sa|Bhoo - Pa Raa| - Gi Ni -|
0 3 X 2

G GG R| G P D -| D ṡD P| G R S -|
Ma Ni Va Ra| Ji Ta Au -| Da VaSwa Ru| - Pi Ni -|
0 3 X 2

ANTARAA

G - G G| P P D D|ṡṡṡṡ|Ṙ - ṡṡ|
Shu - DdhaSu| Ra Na Ko -| Sa Ba Gu Ni|Gaa - Wa Ta|
0 3 X 2

D - DD|ṡ-Ṙ - |ṡṘ ĠṘ|ṡ- D P |

Vaa - Di Sam|Vaa - Di -| Ga Dha Ko Ba|Naa- Wa Ta|
0 3 X 2

G GG R| G P D ṡ|D ṡ D P | G R S S|
Sa Ma Ya Ni| Sa PraTha Ma| Bu DhaJa Na| Sam - Ma Ta|
0 3 X 2

Indian Classical Vocals - Level 1

Spardha School Of Music

RAAG BHUPALI (CHHOTA KHAYAAL)(MADHYALAYA TRITAL)

STHAAYI – Namana Kara Chatur Shree Guru Charana

Tana Mana Nirmala Kar Bhava Tarana

ANTARAA – Jo JoDhyaawata Shubha PhalaPaavata

Janama Marana Dukha Saba Nistarana

STHAAYI

ṡṡ D P GR S RS Ḍ S R G R G -
Na Ma Na Ka Ra Cha Tu RaShree - Gu RuCha Ra Na -
0 3 X 2

G G P Dṡ DṡṡṡP D P G R S -
Ta Na Ma Na Ni Ra Ma La Ka Ra BhaVa Ta Ra Na -
0 3 X 2

ANTARAA

G - G - P - ṡ Dṡṡṡṡ|Ṙ - ṡṡ|
Jo - Jo -|Dhyaa - Wa Ta| Shu BhaPha La|Paa - Va Ta|
0 3 X 2

ṡṡĠṘ|ṡṡP D|ṡṡ D P| G R S -|
Ja Na Ma Ma| Ra Na Du Kha| Sa Ba Ni S| Ta Ra Na -|
0 3 X 2

Taan (From 1stMatra)

1) SR GP RG PD GP DP GR SS

2) RG GR SR RS ḌS SḌ P̣ Ḍ S-

3) GP DG DP GR SR GS GR RS

4) PD ṡṘĠṘṡD PD ṡD PG RS

5) DṡPD GP RG SR ḌS P̣ Ḍ S-

6) ṡD PG DP GR PG RS RG P-

Indian Classical Vocals - Level 1

Spardha School Of Music

(From 9thMatra)

1) SR GG RG PP GP DD PD ṡṡDD ṡṡDD ṘṡṘṡDP GR S-

2) GG RS PP GP GG RS DD PD PP GP GG RS ṡṡDṡDP G-

SHLOK IN BHOOP RAAG

MantraanaamMaatrakaadevi,ShabdaanaamGyaanrupini,

GyaanaanaamChinmayaatitaam,ShunyaanaamShunyasakshi

YasyaahParataramNaasti,SaishaaDurgaaPrakirtitaah

AakhandamandalaakaramVyaaptam,YenCharaacharam

TatpadamDarshitamYen,Tasmai Shree GuruveNamaha

Composer – Lt. Vidushi Sheela Joshi

G GG , R G S Ḍ S S

Man Traa Naam , Maa TraKaa - De Vi

G GG , GP D P R R G -

ShabDaaNaam ,Gyaa- - Na Ru Pi Ni -

G P P, P M R G G

GyaaNaa Naam , Chin Ma Yaa TiTaam

P P R , R RR G S

Shu Nyaa Naam , Shu Nya Saak Shi -

Indian Classical Vocals - Level 1

Spardha School Of Music

G P , P PP PN DN P P

YaSyaah , Pa Ra Ta Ram- - - Naas Ti

P D P D P D PG G P

Sai Shaa Dur GaaPraKir - - TiTaah

P D ṡṡṡṡṡṡṡDṡṡ

Aa Khan - Da Man Da LaaKaa Ram- Vyaap Tam

D PG G P D DD

Ye Na- Cha Raa - Cha Ram

P PṡDṡP PD P G P D D

Tat Pa Dam- - Dar Shi Tam - - Ye - Na

P PṡDṡ P , P P D P G P P

Tas Mai - - - Shree , Gu Ru Ve - - Na Maha

Indian Classical Vocals - Level 1

Spardha School Of Music

Students have to sing this Shloka only with the Taanpuraa.

GEET IN RAAG BHOOP

TAAL DAADRAA
DRUT LAYA

STHAYI - Yeaandhi ye toofaan ye matwaarebadal

Humenkyunsataanechale aa rahehain
Gam - e – ishqmausamzaraarukkeaaye
Magar bepanaahraahchale aa rahehain
Ye aandhi……

ANTARA 1 – Barsobadarwaajiyaakholbarso
Khilkhiljaiselehraayesarso
Kahinmaujsaahil se naatakraakedoobe
Kahin hum kinaarelageyjaarahehain
Ye aandhi……

ANTARAA 2 – Tamaashaahumen wo banaakenaachhode

BhariGulbadan ko rulaakenaachhode
Abhi to bhanwarke beech hum the uljhe
Abhi hum kinaarelageyjaarahehain
Ye aandhi……

STHAYI

- - -| - - S|S - D| - - D|D - P| - - P|
- - -|- - Ye|Aan - Dhi| - - Ye|Tu - Faan| - - Ye |
X 0 X 0X 0

D P G| R - R|G - G| - - S| S - S| - - GR|
Ma Ta Waa| - - Re| Baa - Da| La - Ha| Me - Kyu| - - Sa-|
X 0 X 0 X 0

S ṆṆ| - - Ṇ| S G G| R - S|S - S| - - S|

Taa - Ne| - - Cha| Le - Aa| - - Ra|He - Hai| - - Ga|
X 0 X 0 X 0

Indian Classical Vocals - Level 1

Spardha School Of Music

S - -|DDD|D - P| - - ṡ| D - P| G G R|
Me - -| I Sh Q | Mau - Sam |- - Za|Raa - -| Ru Ka Ke|
X 0 X 0 X 0

G - G| - - S|S - S| - - MR|S ṆṆ| - ṆṆ|

Aa - Ye| - - Ma|Gar - Be| - - Pa-|Naa Ha Raa|- Ha Cha|
X 0 X 0 X 0

S GG| R - S|S - S| - - S|
Le - Aa| - - Ra|He - Hai| - - Ye|
X 0 X 0

ANTARAA 1

S SR| G P G| P PP| - - P|P D ṡ| D P P|

Ba Ra So| - - Ba| Da Ra Waa| - - Ji| Yaa - -| Kho - La|
X 0 X 0 X 0

G R G| - - -| S S R| G P G| P - P| - - -|
Ba Ra So| - - -| Khi La Khi| - - La| Jai - Se| - - -|
X 0 X 0 X 0

ṡD D| P - P| G R G| - - ṡ|ṡD -| D - ṡ|
La Ha Raa| - - Ye| Sa Ra So| - - Ka| Hi - -| Mau - Ja|
X 0 X 0 X 0

ṡP P| - P P| D P G| R S R| G - M| - - M|
Saa - Hil| - Se Na| Ta Ka Raa| - - Ke| Du - Be| - - Ka|
X 0 X 0 X 0

G M P| P - P| M P D| P - P| R G P| G - R|
Hi - -| Hum - Ki|Naa - -| Re - La| Ge - -|Jaa - Ra|
X 0 X 0 X 0

G R S| - - S|

He - Hai| - - Ye|
X 0

The second Antaraa is similar to the 1stAntaraa.

Indian Classical Vocals - Level 1

CHAPTER - 9
RAAG KAFI
Spardha School Of Music

Aaroh – S RG M P D Nṡ

Avroh - ṡN D P M G R S

PAKAD – R P M P G - R , M M P

VadiSwar – P ,SamvadiSwar – S , Thaat – Kafi , Jati – Sampoorna-Sampoorna

Time of singing – Midnight, Similar Raag – Sinduraa

CHHOTAA KHAYAL
MADHYALAYA TRITAAL

STHAYI – AajkheloShyaamsanga Hori

Pichkaarirangabharikesaraki

ANTARAA – KunwaraKanhaiyaasangasakhiRaadhaa
Ranga bharijorisohatari

STHAYI

- - R M|
- - AaJa|
2
PD ND PG| - R M M| P - P -| - - D D|
Khe- - - Lo Shyaa| - Ma San Ga| Ho - Ri -| - - Pi Cha|
0 3 X 2

D - N-|P D M M| PD NṡN D| P - R M|
Kaa - Ri -| Ran Ga Bha Ri|Ke- - - Sa Ra| Ki - Aa Ja|
0 3 X 2

Indian Classical Vocals - Level 1

Spardha School Of Music

ANTARAA

D M P D|ṡ- ṡ-|Ṙ ĠṘ ṡ|ND ṡ-|

KunWa Ra Ka|Nhai - Yaa -| San Ga Sa Khi|Raa - Dhaa -|
0 3 X 2

ṡṡṡṘ|N D M - | PD NṡN D| P - R M|
Ran Ga Bha Ri | Jo - Ri -| So- - - Ha Ta| Ri - Aa Ja|
0 3 X 2

Taan (From Sum)

1) SR GM PD ND PM G-

2) SR SRGR GM GM P-

3) MG RS ṆS ḌṆ SR S-

4) MP DN DP MG RG RS

5) ṡN DP MG RS RG MP

( FromKhaali/Kaal)

6) SR GM RG MP GM PD MP DN PD NṡDN DP MG RS

7) ṡN DP MG RS RG MP DNṡṘĠṘ ṡN DP MG RG RS

BHAJAN (RAAG KAFI)

TAAL DAADRAA

STHAYI – Manaphulaaphulaaphirejagata mekaisaanaataa re

ANTARAA 1 – Maataakahe ye putrameraa , Behan kahe veer mera

Bhai kahe ye bhujaahamaari ,Naarikahe Nara mera re

ANTARAA 2 – Haadajalejasalaakdi , Baal jalejasaghaans re

Sone jaisikaayaajalgayi , Koi naaayopaas re

Indian Classical Vocals - Level 1

Spardha School Of Music

STHAYI

- - -| - - GP|ṡṡP|NNDPP|
- - -| - - Mana|PhuLaa -|PhuLaa- -Phi|
X 0 X 0

ṡD PMM|PG R S|G G-|MD D P| P- -| - - GP|

Re - - -Ja|Gata Me -| Kai Saa -|Naa- Taa -| Re - -|- - Mana|
X 0 X 0 X 0

ANTARAA 1

M M -M| PM G G| G D P| P GR S|
Maa Taa -Ka| He- - Ye| - Pu Tra| Me Ra- -|
X 0 X 0

M M -M| PMG G| G D P| P PD N|
Maa Taa -Ka| He- - Ye| - Pu Tra| Me Ra- -|
X 0 X 0

NNN -N|D PM DP|P P-| - - -|

Beha Na -Ka| He - - Vira| Me Raa -| - - -|
X 0 X 0

MP PN-N|N- N|N ṡ-Ṙ|N ṡ -|

Bhaa- I- -Ka|He - Ye|BhuJaa -Ha| Maa Ri -|
X 0 X 0

NN-N| D PM ND| D D-| - - GP|

Naa Ri -Ka|He - - Nara|Me Raa -| - - Mana|
X 0 X 0

Second Antaraa is similar to 1stAntaraa.

Indian Classical Vocals - Level 1

 CHAPTER - 10
INTRODUCTION OF Pt. V.N. BHATKHANDE
AND HIS CONTRIBUTION
 Pandit Vishnu Narayan Bhatkhande was
born on August 10,1860 at Balakeshwar
near Mumbai. He did his Bachelor degree
in the year 1883 and finished his L.L.B in
1890.

He was inclined towards music from

his childhood. In 1904 he started his
historical music tour in which he visited
so many places of India to collect valuable
Indian musical informations. He attended
so many musical concerts and listened the
music of almost all great artists of his time
and he wrote the notation of different
compositions which he used to listen in
the concerts. He wrote a series of books
called “KramikPustakMaalikaa”,in which
he has given the notation of many rare and famous compositions,which are
helpful for the students of music. “KramikPustakMaalikaa” is one of the greatest
work done by him. It is available in 6 parts. For the study of theory, he published
books in Marathi language which has 4 parts. The name of the Hindi version of
this series is “Bhatkhande Sangeet Shastra”. He also published books in Sanskrit
called “Lakshya-Sangeet” and “Abhinav Raag Manjari” in which he discussed
about the ancient music of India. He introduced the Thaat system in North Indian
Classical music and devided the Raagas into 10 Thaats.

In 1916 he organised a music conference in Baroda which was inaugurated by the

king of Baroda province. Noted and well known musicians of that period visited
and participated in this and they agreed to establish All India Music Academy.
A book is already published on this topic and the name of the book is “A Short
Historical Survey Of The Music Of Upper India”.

Later he did music conferences in different parts of India also and because of
his efforts many music schools were established. Morris Music College (Now
Bhatkhande Music School) ,Madhav Music University in Gwalior , Music College
of Baroda are some of the names.

In this way he served common people through his music. He gave a new direction
to those who want to learn music. In September 19,1936 he left this world and
left lot of things behind him to help students like us.

In this curriculum we are using the Bhatkhande notation system.

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