Chapter: 4

Fundamental of
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105
 Chapter:4
Fundamental of Voice Cultivation

Fundamental of Voice Cultivation

4:1 - Aiankaar

fflwz i
(Sarang Dev, Sangeet Ratnakar, 3,150)
Vishishta varnsandarbhamlankar prachekste |
(That is a regular group of letters is called aiankaar)

Aiankaar means ornament or embellishment. As an ornament

adds to the beauty of body, similary, aiankaar adds to the beauty
of singing. It is written in Abhinav Ragmanjari.

Pm ^ eranr i
^OPdieichK #TT II (Abhinavragmanjri)
Shashina rahitev nisha vijalev nadi lata vipushpev.
Avibhhushite kanta gitirlankar hina syat.

(That is as night without moon, river without water, creeper

without flowers and body without ornaments do not look beautiful
the same way song along does not sound musical without
aiankaar.)

Aiankaar is also known as 'palta'. Before teaching actual

singing, the student is first taught the aiankaar because true
knowledge of notes is not attained without it and he also does
not get success in musical art in long run. Alankar also helps in
raag vistar. [Raag Vistar - Elaboration raag by notes while
remaining in its set composition / form.] A raga can be beautified
musically with the help of alankar. The taan (taan = notes sung in
drutlay) etc. also depends upon aiankaar such as sare, gare, gama
..gama..pa..rega..rega..mapa..dha etc.

106
 Alankar is always in group of letters. For instance 'saa re ga
saa'. in this ascending and descending both the orders have come.
Taking it as a ladder the notes can be expanded further. The former
notes should be expanded leaving behind the latter notes. Hence
'regamare' is the second ladder 'gamapaga' is the third. Many
alankars can be produced in this way. But it should be kept in
mind that the notes of a particular raag should merge with the
alankaar of that raag.

A fine orderly weaving of jewel and flower like notes is called

alankar. As a garland is made by knitting flowers and jewels,
similarly alankar is made by knitting letters in order. The Taan,
paltaa, aalaap etc. by which a raag is embellished is called alankaar.
Innumerable types can be made by the mathematics of alankars.

The notes employed in the begining as well as in the end is

called the alankar of sthaayi - varna. That is, the note which is
used in the beginning is also used in the end. Such alankars are
seven.

4:1:1 - Types of Alankaars

(i) Prasannadi

(ii) Prasannant

(iii) Prasanna Madhya

(iv) Prasannadyant

(v) Kramrechit

(vi) Prastaar

(vii) Prasaad

107
 These seven are the sthaayi varnaa alankar. These associated
with the lowest octave are called prasannadi. Those associated
with the beginng of the lowest octave are prasannadi and those
associated with the ending of it are the prasannaadyant. The
middle of the fourth lowest is prassanna Madhya, and the fifth in
order is kramarechit the sixth type is called prastaar by which the
expansion or spread is done. The seventh is prasaad by which
notes are expanded completely and delight is felt.

There are many other alankaars besides Bhadra, Nand, Jit,

Som, Griv, Bhal and Prakash.

The order made by leaving the two notes is called Bhadra

alankaar. The note is re- pronounced after initiating it i.g. the note
'sa' is repronounced after singing V. thus, sa ri sa form is created.
Alankaar is also called palataa. Singing from the shadaj of the
middle octave to that of the highest, it should then be played or
sung in the bilaval thaat with komal madhyama or in some other
'thaat'. In this way also the form of Bhadra alankaar is made.

Nanda alankaar is created by coming to the complete note

with the use of two notes along with Rupak taal. In Jit alankaar
the order is that of 'sa ga ri sa'. It is of four beats and has laghu
kaal. [Laghu Kal = Originating factor for total.] Many beats are
formed out of it.

Leaving one note while employingtwo is called som alankaar.

Such as sa, sa, sa, re, re, sa sa__there are eight beats in it and
guru kal. [Guru Kal = Originating factor for total.] Here also many
beats are formed.

Griv alankaar is made with two small and eight beats. E.g.
sa, ga, ri, ga.....

108
Bhal alankaar made by singing ma, ga, ri, sa. After sa, ga, ri, ma.
Here there are two drut one laghukal / and eight beats.

Prakash alankaar is made in conjunction to twelve notes in

twelve beats - sasa, riri, gaga, magari, garisa.

Arohi (Ascending Alankaar)

The sages say that there are twelve alankaars in ascending

order which are as follow

(1) Vistirna (2) Nishkarsh (3) bindu (4) abhyuchhraya (5)

Hasit (6) preikhat (7) aakshipt (8) sandhi prachchhodan (9)
Udgit (10) udvahit (11) trivarna (12) veni.

Sanchari varna (Evanescent Alankaar)

The number of evanescent alankar is twenty five. Some

scholars believe it to be twenty six.

(1) Mandradi (2) mandra Madhya (3) mandrant(4) prastaar

(5) Prasad (6) vyavrut (7) chalit (8) parivart (9) aakshep (10) bindu
(11) udvah (12) urmi (13) sam (14) preykhit (15) nishkujt (16) shyen
(17) kxam (18) udghatit (19) ranjit (20) sanniyrut (21) pravruti
(22) venu (23) lalit (24) hunkav (25) lhadmaan (26) avlokit

Musicians have mentioned other seven alankars besides the

above said.

(1) Indranil (2) mahavraj (3) nirdosh (4) seer (5) kokil (6)
aavartak (7) sadaanand.

To enrich the knowledge of the singer other five alankars are

also mentioned.

(1) Chakrakar (2) jav (3) shankh (4) padmnibh (5) varid.

109
 Thus, there are sixty eight various alankars. Expansion of raga
raag vistaar is done with these alankars only and the raag is
beautified. With their use, a singer also attains mastery in notes
and beats. Without them the poetic art of the poets and the
musical art of the musicians look poor. Like the expansion of taan,
alankars are also in crores ( by the musicologist uttamacharya )
they are to be kept in the treasure house of heart

Many methods are famous in Indian music according to the

principles of Hindustani method, unending and uncountable types
of uncountable alankars are used to make ragas.

Extra types of Alankaars

(1) Aaghaat (Striken note)

(2) Andolita (Swung note)

(3) Gumphita (note strung together)

(4) Kampita (Vibrating effect)

(5) Kurula (Spiraling / curling notes)

(6) Mudrita (intert wined note)

(7) Plavita (flowing effect)

(8) Sphurita (quivering effect)

(9) Ulahasita (effect of elation)

no
4:1:2 - Shudh Swar Alankaar for Students Practice Divided in
Types

Type - A

(1) Aroh: Sa, re, ga, ma, pa, dha, ni, sa

Avroh : Sa, ni, dha, pa, ma, ga, re, sa

(2) Aroh : Sa sa, re re, gag a, ma ma, pa pa, dha dha, ni ni, sa sa,

Avroh : Sa sa, ni ni, dha dha, pa pa, ma ma, gag a, re re, sa sa,

(3) Aroh: sa sa sa, re re re, gagaga, mamama, papapa,

V

dhadhadha, ninini, sasasa,

Avroh : Sasasa, ninini, dhadhadha, papapa, mamama,

gagaga, rerere, sasasa

(4) Aroh: sasasasa, rererere, gagagaga, mamamama,

pap'apapa,dhadhadhadha, nininini, sasasasa,

Avroh : Siasasasa, nininini, dhadhadhadha, papapapa,

mamamama, gagagaga, re rerere, sasasasa

ill
 Type - B

(1) sare, rega,gama, mapa, padha, dhani, nisa

Sani, nidha, dhapa, pama, maga, gare, resa.

(2) sarega, regama, gamapa, mapadha, padhani,dhanisa,

Sanidha, nidhapa, dhapama, pamaga, magare, garesa

(3) saregama, regamapa, gamadha, mapadhani, padhanisa

S'anidhapa, nidhapama, dhapamaga, pamagare, magaresa

(4) saregamapa, regamapadha, gamapadhani, mapadhanisa,

S’anidhapama, nidhapamaga, dhapamagare, pamagaresa

(5) saregamapadha, regamapadhani, gamapadhanisa,

San id ha pa maga, nidhapamagare, dhapamagaresa

(6) saregamapadhani, regamapadhanisa

S'anidhapamagare, nidhapamagaresa

112
 Type - C

(1) saga, rema, gapa, madha, pani, dhasa,

Sadha, nipa, dhama, paga, mare, gasa,

(2) sama, repa, gadha, mani, pasa,

S’apa, nima, dhaga, pare, masa.

(3) sapa, redha, gani, masa,

Sama, niga, dhare, pasa.

(4) sa dha, reni, gasa,

Saga, nire, dhasa,

(5) sani, resa,

Sare, nisa

(6) sa sa,

S'a sa,

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 Type - D

(1) Aroh : resa, gare, maga, pama, dhapa, nidha, sani, resa

Avroh : Nisa, dhani, padha, mapa, gama, rega, sare, nisa

(2) Aroh : garesa, magare, pamaga, dhapama, mdhapa,sanidha,

resani, garesa

Avroh : Dhanisa, padhani, mapadha, gamapa, regama,

sarega, nisare, dhanisa

(3) Aroh : magaresa, pamagare, dhapamaga, nidhapama,

sanidhapa, resanidha, gar’esani, magaresa

Avroh ; Padhanisa, mapadhani, gamapadha, regamapa,

saregama, nisarega, dhanjsare, padhnisa

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 Type - E

(1) Sa

Sa,re,sa,

Sa,re,ga,re,sa;

Sa,re,ga,ma,ga,re,sa

Sa,re,ga,ma,pa, ma,ga,sa,re

Sa/e^a^[Link]^[Link]^[Link]/e^sa

Sa^e^a^a^pa^dha^i^ha^a^a^a/e^sa

Sa/e^a^a^a^dha^[Link]^dha^a^a^a^e^a

(2) Sa

Sa,ni,sa

S’a,ni,dha,ni,sa

Sa^[Link]^[Link].n^sa

Sa,ni,dha,pa,ma,pa,dha,ni,sa

Sa^^dha^[Link]^a^a^a^ha^[Link]

S’a^i^ha^a/ma^a^[Link]^[Link]^ha^^sa

Sa^^dha^a^a^a^e^a/e^a^a^a^[Link]'a

All these exercises of notes can also be done in Komal and

Tivra Swar.

115
4:2
v
- Murchhana

UPrt W. PM ^ II
(Sarang Dev, Sangeet Ratnakar, 9, 96)
Kramatsvaranam saptanamroheshchavrohana |
Murchchhantuchyte gramtrye taha sajsapt ch 11

The chronological ascending and descending order of seven

notes is the cause of raag and the scholars call it murchana.

Ancient musicologists believe that there are seven types

of murchhana which by reigning in their two graam, produce
various raag raaginis.

Taking two notes out of seven distance between the notes

is established and clearly manifest. The mystry of that created
out of Raag from murchchana can be known only by the scholars.
The description of the mingling of Raag found in modern
scriptures is imagined by the sign of tivra komal etc.

According to modern opinion murchhana of the musical

notes of the listeners is considered to be swar murchhana by
the sign of gamak etc. that is the modern view knows "swar
murchhana " by the sign of gamak etc. by which the listeners
get enjoyment. Only that note is murchhana.

Expansion of Murchhana

Sampurna raag is dependent on murchhana according to the

scholars swar murchhana is said to be of three types, (i) sampurna
murchhana of seven notes, (ii) shadavmurchhana of six notes, (iii)
odav murchhana of five notes.

116
 It is impossible to create raag with only four notes in the
common parance mixing / balancing of the notes sa, re, ga, ma,
pa, dha, ni, is singing is called murchhana. Mixing / balancing
means an arrangement of the expansion of certain group of notes
from the low to the middle octave and to the high octave is called
murchhana. The tuning of seven notes and murchhana are
synonyms of each other.

In this group (Chhand) the notes of Purvaang - the first half

(sa to ma) and Uttarang - the latter half (pa to sa) are mentioned
as chal (moving) and achal (still). Saregama is the blend of four
notes and these notes are considered to be of purvang Mel.
Similarly, Uttarang notes including pa,dha,ni and shadaj i.e. pa
dha ni sa is Uttarang mel. In purvang rishabh and gondhar are
komal and like music in Uttarang dhaivat and nishad are komal. In
a purvang, shadaj and madhyam are believed to be achal notes
and in uttarang pancham and shadaj are taken as achal notes.

That the raga depends on the expansion of the Vikrut notes

rishabh gandhar dhaivat and nishad. That is re, ga, dha, ni, these
four komal notes become the raag thaat by their expansion.

Without the knowledge of that, it is impossible to have the

knowledge of meljanga raags. Hence this description is given to
know the form of thaat.

The first note is shadaj. There are four notes after it, called
rishabh and gandhar(shudhdha and komal). From that the first is
not believed to be gandhar and forth not to be rishabh. There are
two rishabhs and two gandhars second rishabh and third gandhar.
First three of them are rishabh and from second three are gandhar.

When rishabh is given the sign of ra, ri, ru, gandhar also takes
the sign of ga, gi, gu. Thus there are six signs in four notes.

117
 To attain the skill of expansion, the first six signs up to tivra
madhyam except shadaj as it is said ra, ri, ru, and ga, gi, gu in four
notes followed by the notes after pancham dha, dhi, dhu, and na,
ni, nu. These six signs are again made in four notes.

According to the process of expansion useful in raga six signs

are formed immediately in purvaang as said earlier.

Six types are formed in purvaang such as sa, re, ga, ma, sa,
re, gi, ma, sa, ra, ga, ma, sa, ri, gi, ma, sariguma and saragama.
Thes are clear six types.

Thus, keeping the former order in mind, six types of uttarang

are also formed. Pa, dha, na, sa, pa dha, ni, sa, pa, dha, na, sa, pa,
dhi ni sa, pa dhi nu sa and pa dha nu sa.

Indicating wheel of expansion process on the division of

Veenadand

Note First Division Notes Described

(Purvang) in Scriptures

Shudh Shadaj Shudhdh shadaj

Komal Rishabh 1 Shudhah Rishabh(Ra)

Shudhdh Rishabh > 2 Panch Sliruti Rishabh (Ri){ga)

Komal Gandhar 3 Sadharan Gandhar (ru)

Tivra Gandhar Shatshruti Rishabh (gau)

Sudhdh Madhyam 4 Antar Gandhar (gu)

Shudhdh Madhyam (ma)

118
 Thus, a complete union takes place when purvang and
uttarang meet. Therefore the manner of creating raag in North
Indian method is complete, and not partial.

Six types are already formed by balancing the above said ra

ri ru and ga gig gu and by balancing these types with shadaj and
madhyama multiplying six by six, they become thirty six therefore
thirty six thaatas are obtained effortlessly by multiplication. Thus
thaatas will be thirty six by multiplying pa dha na sa pa dha ni sa
etc. of utterang by six.

In sudhdha and tivra madhyam if ma signed madhyama is

experimented place of only signed madhyama. Other thirty six
types are formed. Thus number of thaats are seventy two.

There are nine types of murchhana. Many other types are

formed with the three basic types sampurna shadav and odav.
These types are given below

(1) All seven notes in aaroh and avroh ascending and desending
purna vilom purna is the first type.

(2) Seven notes in aaroh and six in avroh {anulom sampurna

vilom shadar)

(3) Sampurna in aaroh and odav in avroh (purna aaroh - vilom

order)

(4) Shaadav in aaroh and sampurna in avroh vilompurna (aaroh - shadav)

(5) Saadav in aaroh as well as in avroh (aaroh sadav vilom shadav)

(6) Saadav in aaroh and odav in avroh. (shadav odav)

(7) Odav in aaroh and sampurna in avroh. (aaroh odav vilom sampurna)

(8) Odav in aaroh and saadav in avroh. (odav saadav )

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(9) Odav in aaroh as well as in avroh. (odav odav)

These are raga based nine types.

Shloka
3T T£#TT I

(Pandit Damodar, Sangeet Darpan, 64)

Tatra madhyasthshadjen shadjgramy murchna |
Prabhmarabhytenyastu nishadadairdhstaney hee 11

The first murchhna of shadjgram starts from shdaj swar of

madhy sthan

Our ancient writers shows three grams of twentyone

murchhana as under.

Murchhana

Number Name Aaroh Avroh

a) uttarmadra sa/e^ga^a^[Link]^i n^dh^pa^a^ga/e^a

(2) rajni nUa^ga^a^a^ha dha^pa^ma^a/e^a^i

(3) uttrayta [Link]/[Link]^pa pajiria/ga/e^ni^dh

(4) shudh shdaj pa,dha,ni,sa,re,ga,ma [Link]^e^a^nUha^a

(5) matsikruta ma,pa,dha,ni,sa,re,ga ga^sa^dha^ma

(6) ashwagndha ga,ma,pa,dha,ni,sa,re re^sa^n^dha^pa^a^a

(7) abhirudgta re^[Link]^a^ha^^sa sa^i^ha^pa^aga/e

120
4:3 - Merukhand

The meaning of the word 'tan' in Sanskrit is to drag or to

puli. Taan is that group of notes which is used for the exapansion
of raga. Sa re ga ma pa dha ni - is a taan. Then what is the
difference between murchhana and taan. For murchhana it is
necessary to have aaroh and avroh. But neither is necessary for
taan. Raag and thaat are produced by murchhana. Taan is used to
expand the raga. Taan can be absolutely ascending such as sa re
ga ma pa etc. or absolutely descendling such as ni dha pa ma ga
re sa or also ascending as well as descending such as

Sa re ga ma pa dha, pa ma ga re, ga re, pa, dha, ni

There are two types of taan shudhdh taan and kut taan.
Shudhdh taan is that in which the notes are in order such as sa re
ga ma pa dha ni Kut taan is that in which the notes are not in
order such as sa re ga re ma pa ga ma

4:3:2 - Explanation by Mathemetically

Kut taan can be explained mathematically in the following way

(1) 1 kut taan of 1 note : lx 1 = 1

(2) 2 kut taan of 2 note : 1 x 2 = 2

(3) 6 kut taan of 3 note : 1 x 2 x 3 =6

(4) 24 kut taan of 4 note :1x2x3x4 = 24

(5) 120 kut taan of 5 note :1x2x3x4x5 = 120

(6) 720 kut taan of 6 note :1x2x3x4x5x6 = 720

(7) 5040 kut taan of 7 note :1x2x3x4x5x6x7 = 5040

121
 Kut taan is also known merukhand. The above said types of
taan are showed in that.

4:3:3 - Explanation by Statistically

Kut taan or merukhand which is established or proved by

mathematics is expressed by permutation or combination. The
information of the notes of merukhand is as under

It is first necessary to know the definction of permutation to

under stand where these two points are useful in music.

To take the permutation first, out of seven musical notes

(twelve notes including vikrut), various groups can be formed by
interchanging three four, five, notes. For instance, if a group of
four notes is arranged as per the computation of permutation,
twenty - four groups notes can be formed. Suppose these four
notes are sa re ga ma
4r - n!
° (n-r)l

4 __4!_ = _4!__ 4x3 x2x 1 = J24_

C°" 0! 1 1 1

That is twenty four different groups of notes are formed out

of these four notes. Which can be demonstrated as under

Saregama saremaga sagamare

•
magaresa
Resaga ma resamaga gasamare gamaresa
Sagarema samarega sagamare maregasa
Gasarema masarega gasamare remagasa
Regasama remasaga magasare garemasa
Garesama ma resaga gamasare regamasa
122
 The above mentioned chart of groups of notes can be
explained in the following way.

Here, six groups are formed keeping the last notes still. Then
the last note is changed and other six groups are formed. Thus by
changing all four notes alternately, six groups are formed.

To take combination, it is about choice.

While doing the expansion of notes by restricting to the raga,

the notes are chosen and accordingly they are sung in the form of
alap or taan.

These notes are taken melodiously and the raga is expanded

by weaving other notes around that chosen group. Thus, on the
basis of combination raga is known comprehensively. The raga is
actually strengthened by these notes. An element of newness is
added by arranging notes topsy-turvy. In this way permutation
combination is a matter of choice which is known as merukhand
in music with the practice of merukhand in music. With the practice
of merukhand, it is easy for, the prectitioner of music to take his
sadhana on a certain height. He, himself can grow high like a
mountain. The part that is practiced more becomes strong like a
mountain and it can be applied to any raga while singing a kind of
shape of raga is created by this Merukhand should be understood
and practiced properly to add to the beauty of raga and to
appropriate all its parts.

4:3:4 - How to create Merukhand [steps]

(1) To create kut taan by any number of notes is called taan

prastar.

(2) The order in which the notes are present in first taan is called
the basic order turn or first type such as sa re ga ma. These

123
 four notes are taken for taan prastar. Hence it is the first
type of kut taan.

(3) The number of notes taken for kut taan should be in order.
For instance four notes are taken in ascending order for kut
taan. These four notes are shadaj rishabh, gandhar,
madhyama. Thus, in first type the notes should be in order
e.g. sa re ga ma.
(4) It is accepted that there is no note before shadaja and
shadaja is before rishabha and rishabha is before gandhara
gandhara before madhyama, so on. In this way the note
written below any note should be preceding the latter one
such as shadaja can not be written below rishabha because
there is no note before shadaja.

(5) Every new taan originates from its earlier taan, i. e. second
taan originates from the first, third from the second, fourth
from the third, so on.

(6) In writing every taan starts from the left and ends the right
side, (however, in Urdu it can be reverse ) and there should
be all the notes, as decided in it.

(7) In all the taan, only one note needs to be changed. All other
notes can be taken in new taan.

(8) The number of kut taan will be the same as are the number
of notes by multiplication. To know the number of kut taan
created out of four notes, their numbers in order should be
multiplied. For instance, Ix2x3x4 = 24. That is not more
than twenty four kut tans are created out of four notes.

(9) The kut taan of decided notes will be originated in the

following way

124
 To creat kut taan out of four notes sa, re, ga, ma, six taans
will end on madhyama, six on gandhar, six on rishabh and six on
shadaj. Twenty four kut tans are made out of four notes as per
mathematical calculation. Now if the number twenty four is
divided by four it will come to six (24 ^-4 = 6). Thus it is known
that six taans end on different notes. The same can be done with
five notes also. For instance, first the number of kut taan out of
five notes is to be thought of (1x2x3x4x5=120) by mutually
multiplying the number of notes it comes to 120. Now by dividing
the number 120 by total number of notes it will be twenty four
(120 + 5 = 24). Thus, it is clear that by making the kut taan of five
notes, twenty four taans end on every note. To mention it clearly
the twenty four kut taans of four notes are given below.

Firstpart, secondpart, thirdpart, fouthpart (all ending on

maddhyam ) (allending on gandhar) (all ending on rishabh ) (all
ending on shadaj)

In this way, other Merukhands are also prepared, with the riyaz
of it the place of swar will be definite. Sure and the throat will be
ready for taan and aalap.

Smt. Piyuben Sarkhel has prepared Merukhand for the riyaz of

the students with the combination of mathematical Alankaars.

125
 AAROH AVROH

sa re ga ma sa re ma ga sa ni dha pa s'a ni pa dha

re ga ma pa re ga pa ma ni dh pa ma ni dh ma pa

ga ma pa dh ga ma dh pa dh pa ma ga dh pa ga ma

ma pa dh ni ma pa ni dh pa ma ga re pa ma re ga

pa dh ni sa pa dh sa ni ma ga re sa ma ga sa re

dha ni sa re dh ni re s'a ga re sa ni ga re ni sa

sa re ga ma ga sa re ma s’a ni dh pa dh s'a ni pa

re ga ma pa ma re ga pa ni dh pa ma pa ni dh ma

ga ma pa dh pa ga ma dh dh pa ma ga ma dh pa ga

ma pa dh ni dh ma pa ni pa ma ga re ga pa ma re

pa dh ni s’a ni pa dh s'a ma ga re sa re ma ga sa

sa re ga ma re sa ga ma s’a ni dh pa ni s'a dh pa

re ga ma pa ga re ma pa ni dh pa ma dh ni pa ma

ga ma pa dh ma ga pa dh dh pa ma ga pa dh ma ga

ma pa dh ni pa [Link] ni pa ma ga re ma pa ga re

pa dh ni sa dh pa ni s'a ma ga re sa ga ma re sa

126
sa re ga ma re ga sa ma s'a ni dh pa ni dh s’a pa

re ga ma pa ga ma re pa ni dh pa ma dh pa ni ma

ga ma pa dh ma pa ga dh dh pa ma ga pa ma dh ga

ma pa dha ni pa dha ma ni pa ma ga re ma ga pa re

pa dh ni sa dha ni pa s’a ma ga re sa ga ma re sa

sa re ga ma ga re sa ma s'a ni dh pa dh ni s’a pa

re ga ma pa ma ga re pa ni dh pa ma pa dh ni ma

ga ma pa dh pa ma ga dh dh pa ma ga ma pa dh ga

ma pa dh ni dh pa ma ni pa ma ga re ga ma pa re

pa dh ni s’a ni dh pa sa ma ga re sa re ga ma sa

sa re ga ma ga ma re sa sa ni dh pa dh pa ni sa

re ga ma pa ma pa ga re ni dh pa ma pa ma dh ni

ga ma pa dh pa dh ma ga dh pa ma ga ma ga pa dh

ma pa dh ni dh ni pa ma pa ma ga re ga re ma pa

pa dh ni sa ni s'a dh pa ma ga re sa re sa ga ma

dh ni s’a re s'a re ni dh ga re sa ni sa n i re ga

ni s’a re ga re g'a s'a ni re sa n.i dh ni dh sa re

s'a r e g'a m’a g'a m a r e s'a sa ni dh pa dh pa ni sa

127
sa re ga ma re ma sa ga s’a ni dh pa ni pa s'a dh

re ga ma pa ga pa re ma ni dh pa ma dh ma ni pa

ga ma pa dh ma dh ga pa dh pa ma ga pa ga dh ma

ma pa dh ni pa ni ma dh pa ma ga re ma re pa ga

pa dh ni s’a dh sa pa ni ma ga re sa ga sa ma re

dh ni s’a re ni re dh sa ga re sa ni re ni ga sa

sa re ga ma ma sa ga re s’a ni dh pa pa s’a dh ni

re ga ma pa pa re ma ga ni dh pa ma ma ni pa dh

ga ma pa dh dh ga pa ma dh pa ma ga ga dh ma ni

ma pa dh ni ni ma dh pa pa ma ga re re pa ga ni

pa dh ni s’a s’a pa ni dh ma ga re sa sa ma re ga

dh ni s'a re re dh sa ni ga re sa n.i n.i ga sa re

ni s’a re g’a g’a ni re sa re sa ni d.h dh re n.i sa

sa re ga ma sa ma re ga s'a ni dh pa s’a pa ni dh

re ga ma pa re pa ga ma ni dh pa ma ni ma dh pa

ga ma pa dh ga dh ma pa dh pa ma ga dh ga pa ma

ma pa dh ni ma ni pa dh pa ma ga re pa re ma ga

pa dh ni sa pa s’a dh ni ma ga re sa ma sa ga re

dh ni s'a re dh re ni sa ga re sa n i ga n.i re sa

128
sa re ga ma sa ga re ma s'a ni dh pa s’a dh ni pa

re ga ma pa re ma ga pa ni dh pa ma ni pa dh ma

ga ma pa dh ga pa ma dh dh pa ma ga dh ma pa ga

ma pa dh ni ma dh pa ni pa ma ga re pa ga ma re

pa dh ni s'a pa ni dh s’a ma ga re sa ma re ga sa

sa re ga ma re sa ma ga s’a ni dh pa ni s'a dh pa

re ga ma pa ga re pa ma ni dh pa ma dh ni ma pa

ga ma pa dh ma ga dh pa dh pa ma ga pa dh ga ma

ma pa dh ni pa ma ni dh pa ma ga re ma pa re ga

pa dh ni s’a dh pa s’a ni ma ga re sa ga ma sa re

dh ni s’a re ni dh re sa ga re sa n.i re ga ni sa

sa re ga ma ma sa re ga s'a ni dh pa pa s’a ni dh

re ga ma pa pa re ga ma ni dh pa ma ma ni dh pa

ga ma pa dh dh ga ma pa dh pa ma ga ga dh pa ma

ma pa dh ni ni ma pa dh pa ma ga re re ga ma pa

pa dh ni s’a s’a pa dh ni ma ga re sa sa ma ga re

dh ni s’a re re dh ni s’a ga re sa ni n.i ga re sa

129
sa re ga ma ma re sa ga s’a ni dh pa pa ni s’a dh

re ga ma pa pa ga re ma ni dh pa ma ma dh ni pa

ga ma pa dh dh ma ga pa dh pa ma ga ga pa dh ma

ma pa dh ni ni pa ma dh pa ma ga re re ma pa ga

pa dh ni s'a sa dh pa ni ma ga re sa sa ga ma re

dh ni s’a re re ni dh s’a ga re sa n.i n.i re ga sa

sa re ga ma sa ma ga re s’a ni dh pa s’a pa dh ni

re ga ma pa re pa ma ga ni dh pa ma ni ma pa dh

ga ma pa dh ga dh pa ma dh pa ma ga dh ga ma pa

ma pa dh ni ma ni dha pa pa ma ga re pa re ga ma

pa dh ni sa pa s’a ni dh ma ga re sa ma sa re ga

dh ni s'a re dh re s’a ni ga re sa n.i ga n.i sa re

ni s'a r e ga ni g’a r e sa re sa n.i d h re d.h n.i sa

sa re ga ma sa ga ma re s'a ni dh pa s’a dh ni pa

re ga ma pa re ma pa ga ni dh pa ma ni pa ma dh

ga ma pa dh ga pa dh ma dh pa ma ga dh ma ga pa

ma pa dh ni ma dh ni pa pa ma ga re pa ga re ma

pa dh ni s’a pa ni sa dh ma ga re sa ma re sa ga

dh ni s’a re dh sa re ni ga re sa n.i ga sa n.i re

ni s’a r'eg’a ni re ga s’a re sa n.i d.h re n.i d.h sa

130
16. sa re ga ma ga sa ma re s’a ni dh pa dh s’a pa ni

re ga ma pa ma re pa ga ni dh pa ma pa ni ma dh

ga ma pa dh pa ga dh ma dh pa ma ga ma dh ga pa

ma pa dh ni dh ma ni pa pa ma ga re ga pa re ma
pa dh ni s’a ni pa s'a dh ma ga re sa re ma sa ga
dh ni s’a re sa dh re ni ga re sa n.i sa ga n.i re

ni s’a re g’a re ni g'a sa re sa n i d h n.i re d.h sa

sa re ga ma ga ma sa re s’a ni dh pa dh pa s’a ni

re ga ma pa ma pa re ga ni dh pa ma pa ma ni dh

ga ma pa dh pa dh ma ga dh pa ma ga ma ga dh pa

ma pa dh ni dh ni ma pa pa ma ga re ga re pa ma
pa dh ni s’a na s’a pa dh ma ga re sa re sa ma ga
dh ni s’a re s’a re dh ni ga re sa n.i sa n.i ga re

ni s’a re g'a r e g’a ni s’a re sa n.i d.h n.i d.h re sa

sa re ga ma ma ga re sa s’a ni dh pa pa dh ni sa

re ga ma pa pa ma ga re ni dh pa ma ma pa dh ni

ga ma pa dh dh pa ma ga dh pa ma ga ga ma pa dh

ma pa dh ni ni dh pa ma pa ma ga re re ga ma pa
pa dh ni s’a s’a ni dh pa ma ga re sa sa re ga ma
dh ni s'a re re s'a ni dh ga re sa n.i n.i sa re ga

ni s’a re g’a g’a re s’a ni re sa n.i d.h d.h n.i sa re

s’a r e g’a m a m ’a g’a r e s’a sa n.i d.h p.a p.a d.h n.i sa
131
sa re ga ma ma re ga sa s’a ni dh pa pa ni dh sa

re ga ma pa pa ga ma re ni dh pa ma ma dh pa ni

ga ma pa dh dh ma pa ga dh pa ma ga ga pa ma dh

ma pa dh ni ni pa dh ma pa ma ga re re ma ga pa

pa dh ni s’a s'a dh ni pa ma ga re sa sa ga re ma

dh ni sa re re ni s’a dh ga re sa n.i n.i re sa ga

ni s’a r e g’a g’a s’a r e ni re sa n.i d.h d.h sa n.i re

s’a r e g a m’a m 'a r e g'a s’a sa n.i d.h pa p.a n.i d.h sa

sa re ga ma re ma ga sa s’a ni dh pa ni pa dh s’a

re ga ma pa ga pa ma re ni dh pa ma dh ma pa ni

ga ma pa dh ma dh pa ga dh pa ma ga pa ga ma dh

ma pa dh ni pa ni dh ma pa ma ga re ma re ga pa

pa dh ni s'a dh s’a ni pa ma ga re sa ga sa re ma

dh ni s’a re ni re s’a dh ga re sa n.i re n.i sa ga

ni s’a r e g’a s’a g’a re ni re sa n.i d.h sa d.h n.i re

s'a r e g'a m'a r e m’a g a s ’a sa n.i d.h p.a n.i p.a d.h sa

132
sa re ga ma ga re ma sa s’a ni dh pa dh ni pa s’a

re ga ma pa ma ga pa re ni dh pa ma pa dh ma ni

ga ma pa dh pa ma dh ga dh pa ma ga ma pa ga dh

ma pa dh ni dh pa ni ma pa ma ga re ga ma re pa

pa dh ni s’a ni dh s’a pa ma ga re sa re ga sa ma

dh ni s’a re s’a ni re dh ga re sa n.i sa re n.i ga

ni s’a re g’a re s’a ga ni re sa n.i d h n.i sa d h re

s’a r e g'a m’a ga re ma sa sa ni d.h pa d h n.i pa sa

sa re ga ma re ga ma sa s’a ni dh pa ni dh pa s’a

re ga ma pa ga ma pa re ni dh pa ma dh pa ma ni

ga ma pa dh ma pa dh ga dh pa ma ga pa ma ga dh

ma pa df%ni pa dh ni ma pa ma ga re ma ga re pa

pa dh ni sa dh ni s'a pa ma ga re sa ga re sa ma

dh ni sa re ni s’a re dh ga re sa n.i re sa n.i ga

ni s'a r e g’a s’a r e g’a ni re sa n.i d h sa n.i d.h re

s’a r e g'a m ’a r e g’a m’a s’a sa n.i dh pa n.i dh pa sa

133
Reference
CHAPTER: 4

Sarangdev. 'Sangeet Ratnakar7. Delhi. Published by Radha Publi­

cation. 1st Part. Page 96, 148, 150. translated by subhadra
chaudhari.

Bharat Muni. 'Natya Shastra7. by Prof. Babu lala Sukla Sastri. Pub­
lished by Chaukhambha Sanskrit Sansthan. Varanasi. 1st edition,
part 28-36. Page 24, Page - 28.

Vasant. 'Sangeet Visharad7. U.P. Published by Sangeet Karyalay

Hathras. 17th edition, page 120, 128, 129.

Dr. Shardchandra Shridhar Paranjape. 'Bhartiy Sangeet ka

itihas'.[Link] by Chaukhambha Vidya Bhavan, Page
103, 104, 141, 142, 144.

Damodar Pandit, Sangeet Darpan.

http: // [Link] / alankar / [Link]

134