CONCEPTS OF VOCAL MUSIC — CLASS XI 60 Most Probable Q&A

[2 Marks] = Short Answer [6 Marks] = Detailed Answer All 7 Chapters — Exam Ready

CH.1 — Naad, Swar & Saptak

[2 Q1. What is Naad? How is it different from noise?

Marks]

Ans: Naad is a musical sound with constant vibration that is melodious and pleasing to the ears — it gives joy to the soul.
Noise has irregular vibration, is unpleasant and cannot be used in music. Only sound with constant vibration qualifies as
Naad.

[6 Q2. Name and explain the three characteristics of Naad.

Marks]

Ans: (1) Loudness/Magnitude: Low volume = Choota (small) Naad; High volume = Bada (big) Naad. Same Swar (pitch) but
different amplitude. Tanpura example: gentle pluck = small Naad; hard strike = big Naad. Small Naad covers short
distance; Bada Naad covers long distance. (2) Pitch: Highness or lowness of a sound, determined by frequency of
vibrations. Higher frequency = higher pitch. (3) Timbre: Quality that distinguishes sounds of same pitch and loudness
produced by different instruments or voices. Example: sitar and flute sound different even on same note.

[6 Q3. What is the difference between Suddha (Natural) Swar and Vikrit (Modified) Swar?
Marks]

Ans: Suddha (Natural) Swar: Out of 12 Swars, only 7 are Suddha — S, R, G, M, P, D, N. These remain in their own fixed
position and are never moved up or down. They form the backbone of Indian classical music. Vikrit (Modified) Swar: 5
Swars have double character — can be both Suddha and Vikrit. Komal (Flat): R, G, D, N move downward. Ex: Suddha
G at 8th Shruti → Komal G at 7th Shruti. Teevra (Sharp): Only M moves upward. Total = 7 Suddha + 4 Komal + 1
Teevra = 12 Swars in one Saptak. S and P are Achal (never Vikrit).

[2 Q4. What are Achal Swars? Name them. Why are they Achal?
Marks]

Ans: Achal = Fixed Swars that always remain in natural position — neither Komal nor Teevra. Two Achal Swars: Shadaj (S)
and Pancham (P). S is Achal: it is the base (tonic) note of every octave — the musical anchor. P is Achal: it maintains a
fixed 3:2 frequency ratio with S — both are harmonically fundamental and immovable.

[6 Q5. Explain Andolan number. Describe the three types of Saptak.

Marks]

Ans: Andolan number = vibration frequency per second of a musical note. Each ascending Swar has a higher Andolan
number than the previous one. Pancham's Andolan = 3/2 × Shadaj's Andolan. If middle S = 240, P = 360. Three
Saptaks (Octaves): (1) Mandra Saptak (Lower): Andolan = ½ of Madhya. If Madhya S=240, Mandra S=120. If Madhya
P=360, Mandra P=180. (2) Madhya Saptak (Middle): Most commonly used; the base reference. Most vocalists and
instrumentalists perform primarily in this Saptak. (3) Tar Saptak (Higher): Andolan = 2× Madhya. If Madhya S=240, Tar
S=480. All three Saptaks have 12 notes each (7 Suddha + 4 Komal + 1 Teevra). A vocalist can sing up to 3 octaves.

CH.1 — Thaat

[2 Q6. What is Thaat? What is it also called? Give definition from ancient texts.
Marks]

Ans: Thaat is a group of 7 main notes (Swars) arranged in sequence from which Raags are produced. Also called 'Mail' in
ancient texts. According to Abhinav Rag Mangari: 'A group of 7 notes which can produce a Raag is called Mail or
Thaat.' In Hindustani music there are 10 Thaats, propounded by Pt. V.N. Bhatkhande.

Vocal Music — Class XI Page 1

 [6 Q7. List all the characteristics of Thaat.
Marks]

Ans: (1) Must have exactly 7 Swars — without 7 notes no Thaat is complete. (2) Notes must be in natural sequence (S, R, G,
M, P, D, N); Komal/Teevra forms of notes are allowed within this sequence. Ex: Bhairav Thaat uses Komal R and D;
Kalyan Thaat uses Teevra M. (3) No separate Aaroha-Avaroha needed — in Thaat, ascending and descending are
same. (4) Thaat is never sung or played — so no Vadi-Samvadi, Pakad, Alaap, or Taan needed. (5) Thaat has the
natural power to produce Raags but has no independent performance existence.

[6 Q8. Name all 10 Thaats with their flat/sharp note characteristics.

Marks]

Ans: (1) Bilaval — All Suddha (natural) notes. (2) Kalyan — Only M is Teevra (sharp). (3) Khamaj — Only N is Komal (flat).
(4) Ashavari — G, D, N are Komal. (5) Kafi — G, N are Komal. (6) Bhairavi — R, G, D, N are Komal (maximum — 4 flat
notes). (7) Bhairav — R, D are Komal. (8) Marwa — R is Komal, M is Teevra. (9) Purvi — R, D are Komal; M is Teevra.
(10) Todi — R, G, D are Komal; M is Teevra. Key: Bilaval has all natural notes; Bhairavi has the most Komal notes (4).

CH.1 — Jaati

[2 Q9. What is Jaati? Name the three types. How many total Jatis are formed from 3×3?
Marks]

Ans: Jaati = number of Swars used in a Raag. Minimum 5, maximum 7 Swars in any Raag. (1) Audhav = 5 Swars. (2)
Shadav = 6 Swars. (3) Sampoorn = 7 Swars. Since Aaroha and Avaroha can each independently be any of three
Jaatis, 3×3 = 9 total Jatis are formed: Audhav-Audhav, Audhav-Shadav, Audhav-Sampoorn, Shadav-Shadav,
Shadav-Audhav, Shadav-Sampoorn, Sampoorn-Sampoorn, Sampoorn-Shadav, Sampoorn-Audhav. Ex:
Bhimpalasi=Audhav-Sampoorn; Bhairavi=Sampoorn-Sampoorn; Khamaj=Shadav-Sampoorn.

CH.1 — Margi/Deshi, Raag

[6 Q10. What is Margi and Deshi Music? Explain Nibaddha Gaan and Anibaddha Gaan with examples.
Marks]

Ans: Margi Music: Used by Gandharvas (heavenly musicians). Leads to Moksha (spiritual liberation). Singer CANNOT
deviate from rules. No longer found in modern times. Deshi Music: Music of common people — our present classical
music. Rules not strictly followed; singer CAN deviate. Varies from region to region. Nibaddha Gaan: Music BOUND to
Taal (rhythmic cycle). Ancient forms: Prabandh, Vastu, Roopak. Modern forms: Dhrupad, Dhamar, Khyal, Thumri,
Dadra, Tarana, Bhajan, Qawwali, Sargam, Chatturang. Anibaddha Gaan: Music FREE from Taal. Ancient forms:
Ragalaap, Rupkalap, Aaliptgaan. Modern equivalent: Alaap — free, unmetered exploration of a Raag before the
composition.

[6 Q11. Define Raag. List all modern characteristics of Raag.

Marks]

Ans: Raag = a group of minimum 5 and maximum 7 notes that is pleasing to hear. Abhinava Raag Manjari: 'A combination of
Swar and Varna (note group) that entertains us is called Raag.' Modern Characteristics of Raag: (1) Must be pleasing to
listen — the primary quality. (2) Must have 5–7 Swars — no Raag is possible with fewer than 5 notes. (3) Every Raag is
a product of some Thaat. Example: Raag Bhopali from Kalyan Thaat. (4) Shadaj (S) is the base note — no Raag is
possible without S. (5) At least M or P must be present in every Raag. Both M and P together are never prohibited.

CH.1 — Dhrupad, Khyal & Tarana

Vocal Music — Class XI Page 2

 [6 Q12. What is Dhrupad? Describe its history, parts, style, ornaments, and Taals.
Marks]

Ans: Dhrupad = oldest and most serious (Gambhir) form of Hindustani vocal music. History: Exact origin disputed. Raja
Maan Singh Tomer of Gwalior played a key role (15th century). During Akbar's time, 4 famous Dhrupad Banis:
Gobarhaar (Tansen's style), Khandhaar, Dagur, Nohar. Parts: Originally 4 — Sthayi, Antara, Sanchari, Aabhog. Today
only Sthayi and Antara sung. Style: Begins with Nom-Tom Alaap (4 parts); speed increases from 3rd part; Gamak starts
here. Layakari (Dugun, Tigun, Chaugun) has a very special place in Dhrupad. Ornaments: Meend and Gamak used
extensively. Khatka and fast Taans NOT sung. Taals: Chaartaal, Brahmataal, Sooltaal, Teevra, Mattataal (on
Pakhavaj). Language: Braj, Hindi, Urdu.

[6 Q13. What is Khyal? Describe Bada Khyal and Chhota Khyal with their Taals and inventors.
Marks]

Ans: Khyal (from Persian = imagination): 'A Geet in which Alaap, Taan, Khatka, Kaan with Alankaras following Raag rules is
called Khyal.' Emphasis is on clarity and beauty of notes. Shringar Ras is dominant. Gamak used sparingly. Bada Khyal
(Vilambit): Slow rhythm. Two parts: Sthayi and Antara. Very few words per section. Taals: Ektaal, Tilwalda, Jhumra,
Jhaptaal, Aada Chartaal. Inventor: Hussain Sharki (15th century). Chhota Khyal (Drut): Fast rhythm. Also two parts:
Sthayi and Antara. Taals: Teentaal, Ektaal, Jhaptaal, Aada Chartaal, Roopak. Inventor: Ammer Khusro (14th century).
Performance sequence: Sthayi → Antara → Alaap → Taan → Sargam → Bahalava → Meend, Khatka, Murki.

[6 Q14. What is Tarana? How is it different from Khyal? What is its main aim? Who invented it?
Marks]

Ans: Tarana uses meaningless syllables: Nom-Tom, Tanan, Naadir, Dir, Dani, Tadani, Ali, Yalali, etc. May also include bols
of Tabla or Pakhavaj. Different from Khyal: Uses meaningless syllables instead of meaningful poetry or lyrics. Sung
AFTER Chhota Khyal. Follows same Raags and Taals as Khyal. Speed gradually increases from medium tempo to
maximum speed. Main aims: (1) Improve the throat, (2) Understand rhythm, (3) Practise pronunciation clearly. Inventor:
Ammer Khusro (14th century). Famous Tarana singers: Bahadur Hussain Kha, Natthu Kha, Nissar Husain Kha, Pt.
Vinayak Rao Patwardhan, Pt. Krishna Rao.

CH.2 — Gharanas

[6 Q15. What is a Gharana? How does it develop? Name four famous Gharanas.
Marks]

Ans: Gharana = a distinctive musical style created by a great singer through hard work and practice, then passed on to
students and sons through Guru-Shishya Parampara (teacher-student tradition). Though the notes in Raags are the
same across all Gharanas, the style of presentation (how Raag is elaborated, ornaments used, tempo, Taan type, voice
quality) differs — this difference in presentation style is the Gharana's identity. Named after city or founder musician.
Famous Gharanas: (1) Gwalior, (2) Agra, (3) Jaipur, (4) Patiyala, (5) Alladiya Khan.

[6 Q16. Write the salient features of Gwalior Gharana — founder, lineage, and characteristics.
Marks]

Ans: Founder: Natthan Peerbuksh (Natthan Peerkash). Sons: Kadar Baksh and Peer Baksh. Lineage: Kadar Baksh →
Hassu Kha, Haddu Kha, Natthu Kha (famous singers). Natthu Kha adopted Nissar Hussain Kha (later appointed court
singer of Gwalior). Nissar Hussain → Shanker Pandit, Ramkrishna Bahje → Krishna Rao Pandit, Raja Bhaiya Pooch
Vale. Pt. V.D. Paluskar was disciple of Balkrishna Bua Ichalkaranjikar — a disciple of Hassu Kha. Salient Features of
Gwalior Gharana: (1) Open voice quality — clear, resonant, open throat tone. (2) Straight Taan — linear, direct melodic
runs. (3) Use of Gamak — forceful note oscillation. (4) Layakari — intricate rhythmic play. (5) Khyal in Dhrupad style —
compositions have a touch of the older Dhrupad tradition.

Vocal Music — Class XI Page 3

 [6 Q17. Write salient features of Agra Gharana and Jaipur Gharana with their sub-Gharanas.
Marks]

Ans: Agra Gharana: Promoter: Haji Sujon Sahib (son-in-law of Tansen); later popularised by Khudabaksh. Connection to
Gwalior: Peerbuksh of Gwalior gave lessons to Khuda Buksha of Agra. Famous singers: Ustad Faiyyaz Kha, Vilayat
Kha. Features: (1) Nom-Tom Alaap. (2) Open and loud voice. (3) Bool-Taan. (4) Layakari. (5) Dhrupad-Dhamar style
blended with Khyal — unique to Agra. Jaipur Gharana: Founder: Manrang. Famous singers: Gorkhi Bai, Ashik Ali Kha.
Features: Open sound, curved Taans, small compositions. Divided into two sub-Gharanas: (1) Patiyala Gharana
(founders: Alibaksha & Fatte Ali): Curved alankaric Taans, fast artistic Taans, artistic compositions. Representative
today: Bade Gulam Ali Khan. (2) Alladiya Khan Gharana (founder: Alladiya Khan): Slow compositions, uncommon
Raags, Taans suited to Raag movement, difficult lessons. Representatives: Kesar Bai Keskar, Kishori Amonkar,
Shankar Rao.

CH.3 — Natya Shastra

[6 Q18. Who wrote Natya Shastra? Why is it called the 5th Veda? What music topics does it cover?
Marks]

Ans: Written by Bharat Muni. It has 36 chapters and is called Natyaveda — the 5th Veda. Why 5th Veda: Lord Brahma
created it at the request of all Gods by extracting: speech from Rigveda, music from Samveda, acting from Yajurveda,
Ras from Atharva Veda — synthesising all 4 Vedas into one grand work. 6 chapters in Natya Shastra are related to
music and discuss: (i) Madhyam Gram and Shadaj Gram (Gandhar Gram left out by Bharat). (ii) 18 Jaatis — 7 from
Shadaj Gram, 11 from Madhyam Gram. (iii) 10 characteristics (Lakshanas) of Jaati. (iv) Only 2 Vikrit (modified) notes:
Kakali Nishad and Antar Gandhar. (v) Sonant (Vadi), Subsonant (Samvadi), Dissonant (Vivadi), Assonant (Anuvadi).
(vi) Shruti count: S, M, P = 4 each; G, N = 2 each; R, D = 3 each. Total = 22 Shrutis.

[6 Q19. Explain the 10 characteristics of Jaati as described in Natya Shastra.

Marks]

Ans: (1) Grah — the starting note of the composition. (2) Ansh — the most prominent/principal note of the Jaati. (3) Taar —
the highest note used in the Jaati. (4) Mandra — the lowest note used in the Jaati. (5) Nyas — the emphasising or main
resting note. (6) Upnyas — a secondary resting note. (7) Alpatva — a note that is used sparingly (less frequently). (8)
Bahutva — a note that is used in abundance (very frequently). (9) Shadvatva — the hexatonic (6-note) quality of the
Jaati. (10) Audavtva — the pentatonic (5-note) quality of the Jaati. Note: Shruti count — S, M, P = 4 each; G, N = 2
each; R, D = 3 each. Total = 22.

CH.4 — Tanpura

[6 Q20. Describe all 4 strings of Tanpura — material, tuning, and how adjustments are made.
Marks]

Ans: Tanpura (Tambura) has 4 strings: (1) 1st string (steel alloy): Tuned to lower Pancham, or Suddha Madhyam, or Suddha
Nishad, or Gandhar as per the requirement of the Raag being performed. Ex: Raag Malkosh (no P or natural M) →
lower Madhyam; Raag Puriya/Marwa (no P or natural M) → lower N or G. (2) 2nd and 3rd strings — Jodi strings (steel):
Always tuned to S (Shadaj) of middle octave. (3) 4th string (copper/brass, thicker): Always tuned to lower S (Mandra
Shadaj). Tuning Adjustment: Major changes → pegs (Khoote). Fine/mild tuning → beads (Manka). Lowering the Manka
(bead) raises the pitch of the string. Lady's Tanpura: 1st string made of thinner steel; all other strings remain same.

CH.5 — Taals

[6 Q21. Describe Ektaal — Matras, Vibhags, Tali, Khali, Theka, tempos, and uses.
Marks]

Ans: Ektaal is a versatile Hindustani classical Taal. Matras: 12 | Vibhags: 6 (each of 2 Matras) Tali (clap): on 1st, 5th, 9th,
11th Matras | Khali (wave): on 3rd and 7th Matras. Theka: (×) DHIN DHIN | (0) DHAGE TIRKIT | (2) TU NA | (0) KA TTA
| (3) DHAGE TIRKIT | (4) DHI NA Tempos: Vilambit (slow), Madhya (medium), and Drut (fast) — all three tempos. Used
with: Bada Khyal (Vilambit), instrumental music, Tarana, and dance (Nritya). Compositions: Kaida, Palta, Peshkara,
Paran, Chakkardar Paran, Tukda.

Vocal Music — Class XI Page 4

 [6 Q22. Describe Chautaal — Matras, Vibhags, Tali, Khali, Theka, tempo, and uses.
Marks]

Ans: Chautaal (Chartaal) is a popular and ancient Taal of Pakhavaj. Matras: 12 | Vibhags: 6 (each of 2 Matras) Tali: on 1st,
5th, 9th, 11th Matras | Khali: on 3rd and 7th Matras. Theka: (×) DHA DHA | (0) DIN TA | (2) KIT DHA | (0) DIN TA | (3)
TEYTEY KATA | (4) GADI GAN Tempo: Primarily Madhya Laya (medium tempo). Most associated with: Dhrupad style
of singing. Favourite Taal of Pakhavaj players for solo performance. Compositions: Paran, Padal, Rela, Tihai.

[6 Q23. Describe Teentaal — Matras, Vibhags, Tali, Khali, Sam, Theka, uses, and why it is most popular.
Marks]

Ans: Also called Tritaal. Matras: 16 | Vibhags: 4 (each of 4 Matras) Tali: on 1st, 5th, 13th Matras | Khali: on 9th Matra | Sam:
on the 1st beat. Theka: (×) DHA DHIN DHIN DHA | DHA DHIN DHIN DHA | (0) DHA TIN TIN TA | (3) TA DHIN DHIN
DHA Used with: Chhota Khyal, instrumental music, Tarana, Kathak dance. Compositions: Peshkara, Kaida, Rela,
Tukda, Paran. Tempos: medium fast and very fast. Why most popular: (1) Perfectly symmetric — 4×4 structure, equal
beat intervals. (2) Most Tabla solos performed in Teentaal. (3) Versatile — works for vocal, instrumental, dance. (4) All
major Tabla compositions are played in Teentaal.

[2 Q24. Write the Dugun of Teentaal.

Marks]

Ans: Dugun = Theka played at double speed within the same 16 Matras: (×) DHA DHIN DHIN DHA DHA DHIN DHIN DHA
(0) DHA TIN TIN TA TA DHIN DHIN DHA (2) DHA DHIN DHIN DHA DHA DHIN DHIN DHA (3) DHA TIN TIN TA TA
DHIN DHIN DHA

[2 Q25. Write the Tigun of Teentaal.

Marks]

Ans: Tigun = Theka played at triple speed within the same 16 Matras: (×) DHA DHIN DHIN | DHA DHA DHIN | DHIN DHA
DHA | TIN TIN TA (0) TA DHIN DHIN | DHA DHA DHIN | DHIN DHA DHA | TIN TIN TA (2) DHA DHIN DHIN | DHA DHA
DHIN | DHIN DHA DHA | TIN TIN TA (3) DHA DHIN DHIN | DHA DHA TIN | TIN TA TA | DHIN DHIN DHA

CH.6 — Raag Bhimpalasi

[6 Q26. Describe Raag Bhimpalasi — Thaat, Jaati, notes, Vadi-Samvadi, time, Aaroha, Avaroha, Pakad, and
Marks] features.

Ans: Thaat: Kafi | Komal notes: G (Gandhar), N (Nishad) | Varjit (prohibited) in Aaroha: R and D Jaati: Audhav-Sampoorn —
5 notes in Aaroha, all 7 in Avaroha Vadi: M (Madhyam) | Samvadi: S (Shadaj) | Time: Third Prahar (afternoon) Aaroha:
(N) S G M, P N S' [R and D omitted] Avaroha: S' N D P, M G R S [all 7 notes] Pakad: S R N S M—, M P G—M G R S
Features: Believed formed from amalgamation of Raag Bhima + Raag Palasi. N-S and S-M are used with Meend
(glide). Raag has serious (Gambhir) nature — Dhrupad-Dhamar, Bada Khyal (Vilambit), Chhota Khyal (Drut), slow/fast
Gat, and Tarana are all sung. Thumri is NOT sung in this Raag due to its serious nature.

[2 Q27. What compositions are sung in Raag Bhimpalasi? What is NOT sung and why?
Marks]

Ans: Sung: Dhrupad-Dhamar, Bada Khyal (Vilambit), Chhota Khyal (Drut), slow/fast Gat, and Tarana. NOT sung: Thumri —
Raag Bhimpalasi has a serious (Gambhir) nature, which is incompatible with Thumri's light, romantic, and playful
character.

CH.6 — Raag Bhairavi

Vocal Music — Class XI Page 5

 [6 Q28. Describe Raag Bhairavi — Thaat, Jaati, notes, Vadi-Samvadi, time, Aaroha, Avaroha, Pakad,
Marks] features.

Ans: Thaat: Bhairavi | Komal notes: R, G, D, N — 4 Komal notes (maximum among all Raags) Jaati: Sampoorn-Sampoorn
— all 7 notes in both Aaroha and Avaroha Vadi: M (Madhyam) | Samvadi: S (Shadaj) [Controversy: some say Vadi=P,
Samvadi=S] Time: Dawn/early morning — but in practice rendered at any time. Many musicians CONCLUDE their
concerts with this Raag. Aaroha: S R G M P D N S' [all notes] Avaroha: S' N D P M G R S [all notes] Pakad: M G R G S
R S — D N S R S Nyas Swars: S, G, M, P | Similar Raag: Bilaskhani Todi Special: In practice all 12 notes may be used
— Suddha R and D so commonly used that Bhairavi cannot be properly rendered without them. Compositions: Chhota
Khyal, Tarana, Tappa, Thumri. Bada Khyal is NOT sung.

[6 Q29. Explain the two controversies in Raag Bhairavi.

Marks]

Ans: Controversy 1 — Vadi-Samvadi: Majority of musicians and theorists consider: Vadi = Madhyam (M), Samvadi = Shadaj
(S). However, some musicians consider: Vadi = Pancham (P), Samvadi = Shadaj (S) (Pancham-Shadaj pair). This
dispute arises because both M and P are strongly emphasised in different Gharana renditions of Bhairavi, making it
difficult to definitively identify one as Vadi. Controversy 2 — Use of notes: Theoretically, only Komal R, G, D, N are
prescribed for Raag Bhairavi. But in practice, all 12 notes may be used in performance. The use of natural (Suddha)
Rishabh and Dhaivat has become so common that it is now difficult to render Bhairavi without them. This shows that
Bhairavi has evolved significantly beyond its textbook definition.

[2 Q30. What compositions are sung in Raag Bhairavi? What is NOT sung?
Marks]

Ans: Sung: Chhota Khyal (Drut), Tarana, Tappa, and Thumri. Bhairavi has a cheerful, exuberant nature — hence light
compositions are preferred. Many film songs are also composed in this Raag. NOT sung: Bada Khyal (Vilambit Khyal)
— incompatible with Bhairavi's cheerful nature.

CH.6 — Raag Bihag

[6 Q31. Describe Raag Bihag — Thaat, Jaati, notes, Vadi-Samvadi, time, Aaroha, Avaroha, Pakad, features.
Marks]

Ans: Thaat: Bilawal (Controversy: some say Kalyan due to Teevra M use) Varjit in Aaroha: R, D | Jaati: Audhav-Sampoorn (5
in Aaroha, all 7 in Avaroha) Vadi: G (Gandhar) | Samvadi: N (Nishad) | Time: First Prahar of night (~7 PM to 10 PM)
Aaroha: (N) S G M P N S' [R and D omitted] Avaroha: S' N D P, M(Teevra) P G M G, R S [T = Teevra M] Pakad: N S G
M P—, M(T) P, G M G——R S Features: Movement generally begins from Mandra Nishad (N) or Mandra Pancham (P).
Teevra M is used as a Vivadi (dissonant) note with Pancham — this is the Raag's signature. Serious nature — Vilambit
Khyal, Drut Khyal, and Tarana all sung. Can be rendered in all three octaves (Mandra, Madhya, Tar). Nyas Swars: S, G,
P, N. Similar Raag: Yaman Kalyan.

[6 Q32. Explain the Teevra Madhyam controversy in Raag Bihag. What is Suddha Bihag?
Marks]

Ans: Controversy about Teevra Madhyam: Raag Bihag originally belongs to Bilawal Thaat (which uses all Suddha/natural
notes, including natural M). However, over time the use of Teevra Madhyam (sharp M) in Bihag increased so much that
it is now accepted as an essential, characteristic note of the Raag. As a result, some modern musicians believe Bihag
belongs to Kalyan Thaat (which features Teevra M as a defining note). But ancient scholars consistently placed it in
Bilawal Thaat — the controversy remains unresolved. Suddha Bihag: This is a form of Raag Bihag in which the Teevra
Madhyam is NOT used at all — only natural (Suddha) Madhyam is used throughout. Some Dhrupad-Dhamar singers
perform this version, keeping strictly within the Bilawal Thaat framework.

CH.7 — Tansen

Vocal Music — Class XI Page 6

 [6 Q33. Write a detailed note on Tansen — early life, Guru, association with Akbar, and contributions.
Marks]

Ans: Real name: Ramtanu Pandey (some authors say Tanna Mishra). Born: approximately 1506 AD, village Behat near
Gwalior. Meeting Guru: Young Tanna climbed a tree and roared like a lion when Swami Haridas passed through the
forest with disciples. Swamiji was greatly impressed by the boy's talent and took him to Brindavan to teach music.
Career: After father's death, lived with Fakir Md. Ghaus. Appointed court musician by King Ramchandra Baghela of
Rewa. King Ramchandra gifted Tansen to Emperor Akbar (who loved music greatly). Akbar made Tansen a Navratan
— one of the 9 gems of his court. Title 'Miya' conferred. Children: 4 sons — Tanras Khan, Surat Sen, Hamirsen, Bilas
Khan; Daughter — Saraswati Devi (sang Megha Raag to neutralise the heat of Raag Deepak). Famous legends: Raag
Deepak story (intense heat generated; Saraswati saved the court); Baijubawra contest (Baijubawra won but forgave
Tansen magnanimously). Compositions: Darbari Kanhra, Miyaki Malhar, Miyaki Sarang, Miyaki Todi. 4 Dhrupad Banis
at Akbar's time: Gobarhaar (Tansen's own style), Khandhaar, Dagur, Nohar.

CH.7 — Pt. Vishnu Narain Bhatkhande (1860–1936)

[6 Q34. Write a detailed note on Pt. V.N. Bhatkhande — life, contributions, institutions, and books.
Marks]

Ans: Born: 10 August 1860, Walkeshwar, Mumbai (Chittapawan Brahmin family). Education: B.A. 1883, LL.B. 1890.
Practiced law for several years, then fully devoted himself to music after the death of his wife and daughter. Music
teachers: Seth Vallabhdas (Sitar), Guru Rao-Bua Belbathkar, Md. Alikhan of Jaipur, Pt. Eaknath of Gwalior, Ustad
Alikhan of Rampur. Also paid musicians across India to learn from them during extensive tours. Key Contributions: (1)
Bhatkhande Swarlipi Paddhati: Standardised notation — S,R,G,M,P,D,N; line below = Komal; dot above = Tar octave;
bars (|) = Taal divisions. (2) Thaat-Raag classification: Replaced old unscientific Raag-Ragini-Putra system with 10
Thaats — all Raags classified under one of 10 parent Thaats. (3) Collected compositions and notations from Gurus
across India; documented in 6 volumes. (4) Organised music conferences (Sangeet Samelan); established All India
Music Academy. (5) Music Institutions: Baroda State Music School (1916), Madhav Music College Gwalior, Marris
College of Music Lucknow (1926) — now Bhatkhande Music University (deemed university). Books: Hindustani
Sangeet Karmik Pustak Malika, Bhatkhande Sangeet Sastra, Abhinav Raag Manjari, Lakshya Sangeet. Passed away:
19 September 1936 (Ganesh Chaturthi day). Commemorative stamp released: 1 January 1961.

CH.7 — Pt. Vishnu Digambar Paluskar (1872–1931)

[6 Q35. Write a detailed note on Pt. V.D. Paluskar — life, tragedy, motivation, and contributions.
Marks]

Ans: Born: 18 August 1872, Kurundwad. Father: Digamber Gopal. Mother: Ganga Devi. Tragedy: During Hindu festival Datta
Jayanti, a firecracker burst near his face — permanently damaged both his eyes. Being in a small town, no immediate
treatment was available. Lost eyesight permanently. Formal education discontinued. Due to this handicap, father sent
him to learn music from Pt. Balkrishna Bua Ichalkaranjikar (a disciple of Hassu Khan of Gwalior Gharana). King of Miraj
provided shelter and all facilities. Motivation: At a public music programme, dignitaries were invited but NOT his Guru
(told he was 'only a singer'). This disrespect shocked Paluskar and motivated him to give music and musicians their
rightful place and respect in society. Contributions: (1) Gandharva Maha Vidyalaya — founded in Lahore on 5 May
1901; Mumbai branch established in 1908. Gave all his earnings to run it. (2) Ram Nam Ashram, Nasik — free music
education, food, and clothes on Vaidik tradition. Famous students: Pt. V.A. Kasalker, Pt. Omkar Nath Thakur, Pt. B.R.
Deodhar, Pt. V.N. Thakar, Pt. V.N. Patvardhan. (3) Vishnudigambar Notation System — first practical written notation
for Hindustani music. (4) ~50 books: Raag Pravesh, Sangeet Bal Prakash, Sangeet Shiksha, Mahila Sangeet, etc.
Published monthly periodical 'Sangitamrit Pravah'. (5) Philosophy: Replaced vulgar Sringar Ras words in songs with
sober, soul-touching Bhakti Ras. Passed away: 21 August 1931 (suffered paralysis in 1930). Son: Pt. D.V. Paluskar
(Dattatriya). Honours: India Today — 100 people who shaped India (2000); Govt. stamp: 21 July 1973.

Vocal Music — Class XI Page 7

 [6 Q36. How did Bhatkhande and Paluskar complement each other?
Marks]

Ans: Pt. V.D. Paluskar and Pt. V.N. Bhatkhande were contemporaries who transformed Hindustani classical music from two
different but equally vital angles. Paluskar (Practical/Spiritual side): • Gave musicians social dignity — insisted they
deserved equal respect in society. • Opened music schools (Gandharva Maha Vidyalaya) for both boys and girls
equally. • Replaced vulgar Sringar Ras words in compositions with devotional Bhakti Ras content. • Spread music to
common people through concerts, tours, and the Ashram system. • Developed the Vishnudigambar Notation System to
preserve music in writing. Bhatkhande (Theoretical/Academic side): • Created the 10 Thaat-Raag classification system
— replaced unscientific old system. • Developed Swarlipi (notation) system for standardised music writing. • Collected
and preserved compositions from Gurus across India in 6 volumes. • Wrote comprehensive musicology books covering
theory and Raag analysis. • Organised Sangeet Samelan and established music universities. Together: Without
Paluskar, music would not have gained social respect or reached the common people. Without Bhatkhande, music
would have no systematic academic foundation, standardised notation, or scientific classification. Together they gave
Hindustani music both its soul (Paluskar) and its structure (Bhatkhande), and their complementary partnership
completely modernised Indian classical music education.

Concepts of Vocal Music — Class XI | 60 Most Probable Questions & Answers | All Chapters Covered

Vocal Music — Class XI Page 8