Basic Theory of our

Indian Classical Vocal Music

(Hindustani Padhti)
 INDEX
1. Bhartiya Shastriye Sangeet ki 2 Padhtiyan.
Page - 1

2. 12 Swar | Page - 2,3 & 4

3. 3 Saptak | Page 5 & 6

4. 10 Thaat | Page - 7,8 & 9

5. Taal | Page 10 to 15

6. Laya | Page 16 & 17

7. Layakaari | Page - 18 to 21

8. Some Important Video Suggestions

Page - 22, 23 & 24

All The Very Best

 Page 1

Bhartiya Shastriye Sangeet

Bharatiya Shastriya Sangeet mein 2 Sangeet
Padhtiyan hain.

1
Hindustani/Uttar Bhartiya

2
Karnatak/Dakshin Bhartiya

Dono Padhtiyon ka itihaas aur farq jaanne ke liye

aap ‘Sangeet Visharad’ Book padh sakte yaa iske

baare mein Internet par bhi research kar sakte hain.

Hum yahan sirf Hindustani/Uttar Bhartiya Padhti

ke baare mein jaanenge.

 Page 2

12 Swar
Sangeet mein 12 Swar aur 22 Shrutiyan hoti hain.
Yahan hum 12 Swaron ke baare hi jaanenge.

12 Swar

7 Shudh 5 Vikrit

4 Komal
1 Teevra
7 Shudh

12
Swar
1 Teevra 4 Komal
 Page 3

7 Shudh
SRGMPDN

4 Komal
RGDN

1 Teevra
M

SRRGGMMPDDNN
Komal Swar apne Shudh Swar se ek
sthaan pehle hota hai aur Teevra Swar
apne Shudh Swar se ek sthaan aage hota
hai.

Komal Swaron ki pehchan ke liye usko

underline kiya jata hai jaise R

Teevra Swar ki pehchan ke liye uske

oopar ek thodi thedhi line kheenchi jaati
\
hai, jaise M
Shudh Swaron par koi bhi sign nahi
lagaya jaata.
 Page 4

Example

From C / Pehla Safed

C# D# F# G# A#

Eb Bb

\
R G M D N
C D E F G A B
S R GMP DN

Agar dhyan se dekha jaae Shudh Swaron

ko to ek baat maloom hoti hai ki G-M aur
N-S mein kisi bhi key ka gap nahi hai aur
baaqi sabhi Shudh Swaron mein ek key ka
gap hai.

To is baat ko dhyan mein rakkha jaae to

hum kisi bhi Swar ko ’S’ maan kar usse
Sargam baja sakte hain.

To aap jis bhi Pitch se gatee hain, us Pitch

se, upar batae hue tareeqe se Harmonium
ya Keyboard mein aasani se bajakar bhi
Riyaz kar sakte hain.
S aur P ka koi KOMAL ya TEEVRA swar nahi
hota hai isiliye unhe ACHAL SWAR bhi kaha
jata hai.
 Page 5

TEEN SAPTAK
12 Swaron ke Group ko SAPTAK kaha jata
hai. Bhartiya Shastriya Sangeet mein 3
Saptakon ka pryog kiya jata hai.

1. Mandra Saptak
2. Madhya Saptak
3. Taar Saptak

Harmonium ke ekdum Pehle(1st) safed key se

saatve(7th) safed key tak Mandra Saptak
hota hai. Baaqi Neeche dee hui gure ko
dekhiye.

Mandra Saptak Madhya Saptak Taar Saptak

fi
 Page 6

Mandra Saptak Madhya Saptak Taar Saptak

. . . . . . .
S. R G M P D N
. . . . . . S R G M P D N S R G MP D N

Mandra Saptak ke Swaron ke neeche ek

dot(bindu) lagi hoti hai. Madhya Saptak ke
Swaron ke upar-neeche koi phi dot(bindu)
nahi lagti hai aur Taar Saptak ke Swaron ke
upar ek dot(bindu) lagi hoti hai.

Kuch SHUDH, KOMAL, TEEVRA aur SAPTAK ke

signs ke examples…

R - Madhya Saptak ka Shudh R

R
.
- Mandra Saptak ka Komal R
.\
M - Taar Saptak ka Teevra M
P - Madhya Saptak ka P
.
S - Taar Saptak ka S
 Page 7

10 Thaat/Ang
Hindustani Padhti mein 10 Thaat mane Gaye hain.
Thaat matlab 7 Swaron ka Aroh - Avroh(Ascending-
Descending order). Har Thaat - Shudh, Komal aur
Teevra swaron ke combinations se banaya gaya
hai. Kisi Thaat mein sabhi Shudh Swar hi hote hain,
kisi mein Shudh Swaron ke sath Komal Swar hote
hain, kisi mein Shudh ke sath Teevra Swar hota hai,
isi tarah combinations hote hain.

Sangeet Vishard (Book) ya Sangeet ki sabhi

kitabon mein ek sequence likkha gaya hai ki sabse
pehle THAAT phir use bane hue RAAG aur
RAAGON mein Bandishein yaa GAANE. Magar Ye
sequence vaastav mein ekdum ghalat hai.

Sabse pehle hamara FOLK music hai, uske

aadhaar par RAAG banae gaye aur phir un sabhi
RAAGON ko ek GROUP (THAAT) mein dala gaya.
Ab actual mein THAAT WORD hi GHALAT hai.
Iski jagah hume ANG(FLAVOUR) shabd ka
istamaal karna chahiye. Ye sabhi baatein 'USTAD
BADE GHULAM ALI KHAN SAHAB dwara batai
gayi hain. Jinhe is sadi ka TANSEN bhi kaha
gaya hai.
‘
‘
’
’
‘
’
’
 Page 8

10 Thaat/Ang

1. BILAWAL
.
SRGMPDNS
.
SNDPMGRS

2. KHAMAJ
.
SRGMPDNS
.
SNDPMGRS

3. BHAIRAV
.
SRGMPDNS
.
SNDPMGRS

4. KAAFI
.
SRGMPDNS
.
SNDPMGRS
 Page 9

5. BHAIRAVI
.
SRGMPDNS
.
SNDPMGRS

6. MARWA
\ .
SRGMPDNS
. \
SNDPMGRS

7. POORVI
\ .
SRGMPDNS
. \
SNDPMGRS

8. AASAVARI
.
SRGMPDNS
.
SNDPMGRS

9. KALYAN
\ .
SRGMPDNS
. \
SNDPMGRS

10. TODI
\ .
SRGMPDNS
. \
SNDPMGRS
 Page 10

TAAL
TAAL aur LAYA(SPEED) ko samjhna bhi unta hi zaroori
hai jitna ki SWAR aur SUR ko. Bina Taal ke aap kabhi
sahi RIYAZ nahi kar sakte hain aur naa koi bhi GAANA
ache se gaa sakte hain.

Hindustani Padhti ke shuraati daur mein DHRUPAD aur

DHAMAAR (Styles of Singing) gaya jaja tha, jisme TAAL
ki SANGAT karne ke liye PAKHAWAJ (Instrument) ka
istamaal kiya jata tha aur aaj bhi jab DHRUPAD gaaya
jata hai to SANGAT mein PAKHAWAJ hi rehta hai. Magar
uske baad Hindustani Padhti mein KHAYAL GAYAKI
(style of singing) ka aagman hua jisme TABLA ki Jodi ki
Sangat hi kee gayi aur aajtak bhi vaisa hi chalta hua aa
raha hai.

Jis tarah SARGAM ke naam S R G M P D N hain, usi

prakaar TABLA ki JODI ke bhi bahut saare alag alag
BOL hain jinke combinations se kaeen TAAL aur THEKE
banae gaye. Jaise - DHA GE NA TIN TUN TETE KAT etc…
 Page 11

TAAL - TEEN TAAL (16 - Matra)

X 2 0 3
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 NA TA DHIN DHIN DHA

Vibhaag - 4 Taali - 1, 5 aur 13 Khaali - 9

Chhand - 4 - 4

TAAL - JHAP TAAL (10 - Matra)

X 2 0 3
1 2 3 4 5 6 7 8 9 10
DHIN NA DHIN DHIN NA TIN NA DHIN DHIN NA

Vibhaag - 4 Taali - 1, 3 aur 8 Khaali - 6

Chhand - 2 - 3
 Page 12

TAAL - DWIMATRI EK TAAL (12 - Matra)

X 0 2 0 3 4
1 2 3 4 5 6 7 8 9 10 11 12
DHIN DHIN DHAGE TIRKIT TUN NA KAT TA DHAGE TIRKIT DHIN NA

Vibhaag - 6 Taali - 1,5,9,11 Khaali - 3,7

Chhand - 2 - 2

TAAL - TRIMATRI EK TAAL (12 - Matra)

X 2 0 3
1 2 3 4 5 6 7 8 9 10 11 12
DHIN DHIN DHAGE TIRKIT TUN NA KAT TA DHAGE TIRKIT DHIN NA

Vibhaag - 4 Taali - 1,4,10 Khaali - 7

Chhand - 3 - 3
 Page 13

TAAL - KEHERWA TAAL (8 - Matra)

X 0
1 2 3 4 5 6 7 8
DHA TIT DHIN DHIN TA TIT DHIN DHIN

Vibhaag - 2 Taali - 1 Khaali - 5

Chhand - 4 - 4

TAAL KEHEWA
BHAJAN THEKA (8 - Matra)
X 0
1 2 3 4 5 6 7 8
DHIN NA DIN - DHIN NA TIN NA DHIN - DHIN NA

Vibhaag - 2 Taali - 1 Khaali - 5

Chhand - 4 - 4
 Page 14

TAAL - ROOPAK TAAL (7 - Matra)

0 2 3
1 2 3 4 5 6 7
TIN TIN NA DHIN NA DHIN NA

Vibhaag - 3 Taali - 2,3 Khaali - 1

Chhand - 3 - 2 - 2

TAAL - DADRA TAAL (6 - Matra)

X 0
1 2 3 4 5 6
DHA DHIN NA DHIN TIN NA

Vibhaag - 2 Taali - 1 Khaali - 4

Chhand - 3 - 3
 Page 15

TAAL - DEEPCHANDI TAAL (14 - Matra)

X 2 0 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14
DHA DHIN - DHA DHA DHIN - TA TIN - DHA DAH DHIN -

Vibhaag - 4 Taali - 1,4,11 Khaali - 8

Chhand - 3 - 4

X X X
 Page 16

LAYA (SPEED)
Vaise to zyadatar 3 prakaar ki LAYA sunne ko
milti hai. Jiase, VILAMBIT LAYA, MADHYA LAYA
aur DRUT LAYA. Magar hum yahan 7 prakaar ki
LAYA jaanenge. LAYA ka matlab GATI (SPEED)

Ati Vilambit Laya - Very Slow Speed

BPM - 10 to 15

Vilambit Laya - Slow Speed

BPM - 15 to 20

Vilambit Madhya Laya - Neither too

slow nor too medium
BPM - 20 to 60

Madhya Laya - Medium Speed

BPM - 60 to 120
 Page 17

Madhya Drut Laya - Neither too

medium nor too fast.
BPM - 120 to 180

Drut Laya - Fast Speed

BPM - 180 to 250

Ati Drut Laya - Very Fast Speed

BPM - 250 or above.

X X X
 Page 18

LAYAKAARI
Jis LAYA mein Taal chal rahi, usi LAYA aur TAAL
ke daayre mein rethe hue LAYA ke alag variation
ke banane ko LAYAKAARI kehte hain. JAISE 1
beat mein 2 beats, 1 beat mein 3 Beats etc…

Hum 4 prakaar ki LAYAKAARIYAN yahan

samjhenge.

EK GUN
EKGUN ka matlab hai ki 1 Matra mein 1 hi Beat
ko bolna, chahe wo Tabla ka bol ho, Sargam ho
ya Gaane ke LYRICS hon.

DUGUN
DUGUN ka matlab hai ki 1 Matra mein 2 Beats
ko bolna, chahe wo Tabla ka bol ho, Sargam ho
ya Gaane ke LYRICS hon.
 Page 19

TIGUN
TIGUN ka matlab hai ki 1 Matra mein 3 Beats ko
bolna, chahe wo Tabla ka bol ho, Sargam ho ya
Gaane ke LYRICS hon.

CHAUGUN
CHAUGUN ka matlab hai ki 1 Matra mein 4 Beats
ko bolna, chahe wo Tabla ka bol ho, Sargam ho
ya Gaane ke LYRICS hon.

Agle page mein TAAL TEEN TAAL ke maadhyam

se in charon LAYAKARIYON ko dikhaya gaya hai.
 Page 20

EKGUN

TAAL - TEEN TAAL (16 - Matra)

X 2 0 3
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 NA TA DHIN DHIN DHA

DUGUN
TAAL - TEEN TAAL (16 - Matra)

X 2
1 2 3 4 5 6 7 8
DHA DHIN DHIN DHA DHA DHIN DHIN DHA DHA TIN TIN NA TA DHIN DHIN DHA

0 3
9 10 11 12 13 14 15 16
DHA DHIN DHIN DHA DHA DHIN DHIN DHA DHA TIN TIN NA TA DHIN DHIN DHA
 Page 21

TIGUN
TAAL - TEEN TAAL (16 - Matra)
X 2
1 2 3 4 5 6 7 8
DHA DHIN DHA DHA DHIN DHA TIN TIN TA DHIN DHA DHA DHIN DHA DHIN DHIN
DHIN DHIN DHA NA DHIN DHIN DHA DHA

0 3
9 10 11 12 13 14 15 16
DHA TIN NA TA DHIN DHA DHIN DHIN DHA DHIN DHA DHA TIN NA DHIN DHIN
TIN DHIN DHA DHA DHIN TIN TA DHA

CHAUGUN
TAAL - TEEN TAAL (16 - Matra)
X 2
1 2 3 4 5 6 7 8
DHA DHIN DHA DHIN DHA TIN TA DHIN DHA DHIN DHA DHIN DHA TIN TA DHIN
DHIN DHA DHIN DHA TIN NA DHIN DHA DHIN DHA DHIN DHA TIN NA DHIN DHA

0 3
9 10 11 12 13 14 15 16
DHA DHIN DHA DHIN DHA TIN TA DHIN DHA DHIN DHA DHIN DHA TIN TA DHIN
DHIN DHA DHIN DHA TIN NA DHIN DHA DHIN DHA DHIN DHA TIN NA DHIN DHA
 Page 22

Palta Making Technique

Watch this Video on Youtube

Rotation Palta
Watch this Video on Youtube
 Page 23

Merukhand
Watch this Video on Youtube

Meend Khatka Murki Adolan Gamak Nyaas

Watch this Video on Youtube
 Page 24

VOICE PRODUCTION
Watch this Video on Youtube

BEST 10 HARMONIUM LESSONS (PLAYLIST)

Watch this Playlist on Youtube