Sangeet Vikas Sabha, Pune

Presents

SVS eMagazine
25th July, 2016

25th July 2016

Sangeet Vikas Sabha, Pune

Contents

1. From the Editors Desk Manasi Joshi-Singh

2. Quote - Shloka Sonali Dandekar-Tambe
3. Rediscovering Veenatai Sahasrabuddhe An
Exemplary Artist of Paluskar Tradition Anjali
Malkar
4. Aakruti & Prakruti Form and Nature of Ragas
Seemantini Satre
5. Monologue Poem by Charuhas Damle
6. Tappa Style of Music & its Evolution A Workshop
Event Review Rasika Ekbote
7. Sangeet Ratnakar by Sharangdeva Book Review
Sameer Bildikar
8. Raga Conversation
9. FAQs about SVS eMagazine

25th July 2016

Sangeet Vikas Sabha, Pune

From the Editors Desk

Greetings Friends and Music Enthusiasts!

Ajnatimirndhasya jnjanaalkay|
Cakurunmlitam yena tasmai rgurave
nama||34||

Salutation to that venerable Guru, who,

through the pencil, by applying the collyrium
(eye-salve) of knowledge, opens the eye of
wisdom that had been blinded due to the
darkness of ignorance.

It is only befitting to acknowledge and

celebrate this esteemed role model in ones life.
In India, every opportune moment is a
celebration, a symbol of valuing what we have in
every fleeting tide. It is also a way to express
humility, and seek blessings, so that we may
become capable and attuned to receive
more.
At the helm of the special Guru
Pournima this month, we begin with a glimpse
into the origin and significance of this festival,
and a thought-starter on its apparent
transformation. On occasion, we invite you to
come partake in the sweet offering of SVS
eMagazine.

Spanning over 4000 years of human

existence and pursuit, the wisdom of seers and
sages has provided the guiding light towards
evolution of the great Indian land. In turn, India,
has rightfully elevated to the highest pedestal, the
one who, time and again, has shown the way to
this light of divine self-realization, the Guru.

Guru Pournima is celebrated in the

month of Aashadh (June/July), aligning with the
brightest full moon! So, how did it begin? This
day was originally dedicated to, and
earmarks the birth day of the author of the
epic Mahabharata, also believed to be the
compiler of the Vedas, none other than, the
great Maharishi Ved Vyaasa, who is
considered the greatest Guru of all times.

Gu means darkness/ignorance and

Ru means destruction of darkness. The
Guru is a phenomenal role across multiple
realms of the life-path. Not mistaken to be
merely an instructor, Guru is the one who
purifies and literally moulds the disciple,
transforming the entire personality insideout, thus liberating them. We are indeed
fortunate to find such impeccable qualities
in none other than our own revered Guru.
Guru, then, is considered no less than God by
their ardent devotees!

In the world of Indian Arts, Guru

Pournima bears a very special place. It goes back
to the Guru-Shishya Parampara (GuruDisciple Tradition), the primary means of
education in the olden days. The student
(Shishya) would spend years at the Gurukul
(home of the Guru), learning, absorbing, honing
their skills, preparing for the real world.
Classical Music Gharanas also embodied
this practice, so that their art would pass on
effectively, and their disciples would mature into
the best performers and artists.

- Shri Guru Gita

25th July 2016

Sangeet Vikas Sabha, Pune

The bond was formalized by a ceremony

called Ganda-Bandhan (thread-tying). The
disciple who sought the guidance, would
perform a holy Puja ritual, honoring the
esteemed Guru akin Gods themselves, with
offering of coconut, shawl, flowers, incense,
washing their feet, applying a vermilion Tilak
(mark) on the forehead, Bhog (sweet offering)
and a Guru-Dakshina (honorary monetary
token), with a request for acceptance. Signifying
so, an auspicious thread would be secured
around the disciples wrist, by the Guru. In
the spontaneous spirit of deepest spiritual
reverence and joy, the disciple would bow down
at their feet in prostration (Paad-Sparsh), and the
lessons would begin.
As the auspicious occasion of Guru
Pournima arrived each year presenting a renewed
opportunity to seek affirmation of the Gurus
hand upon the head, it would bear testimony to
the unbreakable bond for senior disciples, and
even perhaps a chance to perform in front of the
Guru, only if the disciple was deemed ready.
Such practice still continues to be observed by
many Gurukuls and music schools today.
Nowadays the groups of disciples even organize
a grand public concert on occasion,
felicitating the Guru, and honoring the
relationship in the presence of an extended
audience, and well-wishers alike.
What is interesting to note is, that, what
was initiated with the best intent at heart, to
safeguard respect for the sacred art and
relationship, undeniably has morphed into
diverse practices. Amidst fast-paced lives,
changing expectations, and overwhelming
electronic resources to browse at fingertips,
the practice of this noble tradition is seen shaping
even undesirably in some areas.

records using the Gurus name to endorse, using

the art itself as a stepping stone to pursue
mediocrity, or even undeserved favoritism
Whether it is excessive insistence of the Guru to
adhere to unreasonable rituals, discouraging a
thinking-questioning attitude, not enough
attention dis-allowing progress of the disciple, or
even lack of adaptation to the changing
environment
Efforts are in order, to treasure such a
delicate, fragile, yet noble connection. A bond
that has the ability to transcend the mundane, nay
lifetimes, to inspire larger-than-life potential to
manifest icons such as Bharat Ratna Pandit
Bhimsen Joshi, his infinite search and
unblemished love for his Guru Sawai
Gandharva, or Swami Haridas supreme
confidence in his true disciple Mian Tansen,
one of the greatest contributors to the art!
On this Guru Pournima, we bring yet
another potpourri of articles & poems, so that
you may be drawn into the garden of musical
thought, whilst reminiscing your own special
Guru connection. As always, your candid
feedback will keep us motivated to bring better,
improved content each month.
Last but not the least, this month of July,
we would like to extend heartfelt wishes for a
very happy Birthday to Guru ji, Dr. Vikas
Kashalkar. May he be blessed with a long life
and continue to inspire us!
Concluding with strains from a bandish in Raga
Marwa,

, ...
Knowledge cannot come without the Guru,
O ignorant one, why do you indulge in
endless thought only to repent?

Whether it is the flippant attitude of lay

learners to mistakenly seek multiple instructors
in an attempt to gain more, without the
differentiator of the Guru, rote learning from
25th July 2016

Sangeet Vikas Sabha, Pune

Thank You
Manasi Joshi-Singh
3

QUOTE - SHLOKA

Na naaden vina geetam na naaden vina swaraha
Na naaden vina nrutyam tasmaannadanmakam
Naadaroopah smruto Brahma naadroopo Janardanaha
Naadroopa Parashaktirnaad roopo Maheshwaraha

~Brihaddeshi by Matanga Muni

Literal Translation:
There can be no notes, no music and no dance without sound. Therefore the universe (Brahma) is
made of sound. All living beings (Janardana or Vishnu) are also made of sound. The voice in the
original form of thought is also made of sound and eventually the end of existence (Mahesh) is also
nothing but sound. Sound is Brahma (beginning), Vishnu (existence) and Mahesh (end).

Deeper Meaning:
The Shloka discusses sound as a form of energy. The notes, rhythm, music, dance are all forms of
sound waves. The voice that is heard originates in the subconscious mind, passes on to become a
thought and then emanates as the spoken voice. At the micro level, within the subconscious mind, this
voice is nothing but sound waves. The entire universe is filled with sound waves from the origin till the
end of existence. Just like the cycle of life, sound has a beginning, existence and an end.

~ Translation provided by Sonali Dandekar-Tambe

25th July 2016

Sangeet Vikas Sabha, Pune

Rediscovering Veenatai Sahasrabuddhe An

Exemplary Artist of Paluskar Tradition
~ Anjali Malkar

On 29th June this year, Veenatai

departed, for the heavenly abode. She became
one with the eternal sound of the universe. For
the last four years, us, students were watching
her, battling helplessly with an incurable disease.
We were in awe of Babas (Dr. Hari
Sahasrabuddhe) ability to savor every precious
moment with Veenatai, displaying strength to
face the adversity with courage and fortitude.
As for me, I was fortunate to be her
disciple for many years, especially when her
career was in flight. Armed with a degree of M.A
music, I joined her class, and for ten years, for at
least three hours nearly every day, I had
witnessed her magician-ship in singing. Whether
25th July 2016

there be a festival, or a holiday, all the days in the

year were converted into music celebration. A
simple and graceful woman, Veenatai was an
ultimate example of an inspired musician for me.
The obsession I experienced during those days is
unforgettable. Veenatai purposefully avoided
indulgence in matters other than music and
focused on improvement in music-making. She
introduced to us to the compositions of Pt
Ramashreya Jha, Pt Balwantrai Bhatt, and
Pt. Vasant Thakar and also to the music of
her father Pt. Shankar Shreepad Bodas and
her brother Pt. Kashinath Shankar Bodas.
Flawless both in words and tunes, she
demonstrated the beauty of the compositions

Sangeet Vikas Sabha, Pune

with great ease. When I joined her class, I was a

small girl coming from a small town. Every class
opened the deepest caves of musical treasure,
and I felt overwhelmed and desperate at the same
time. The glittering notes, meaningful words in
the Bandish imbibed in us, the aesthetic beauty
of lyrics in Classical music.

of Pt. Vishnu Digambar Paluskar and her brother

Pt. Kashinath Shankar Bodas showed her deep
affection and regard for the tradition she
inherited. Her literary eye and aesthetic sense
in displaying the lecture demonstrations on
different musical topics was very
sophisticated.

Veenatai was a humble musician. As I

remember, she never felt beneath to learn a
particular bandish she needed for a cassette from
a novice girl like me. She sat for hours with a
Dagga to teach a large group of multi-leveled
students in SNDT College even on fasting days,
without the slightest sign of exertion. Long after
she resigned from SNDT, the department still
cherished the memories of her dedication to the
subject.

Learning was Veenatais second nature.

Though she inherited music from her father and
brother, she learned Layakari (singing in various
speeds of taal) from Pt. Gajananbua Joshi,
delicate presentation of notes from Vidushi
Kishori Amonkar, and self-studied the beauty of
a meaningful pause from different recordings
from Kirana Gharana. She incorporated these
elements from various styles seamlessly in
her original Gwalior style of singing, which,
as a result brought her international fame and
recognition.

Her demonstrative approach of

unfolding the Raga instilled basics of critical
thinking in us. She always said, The first step to
elaborate a Raga is to sing the outline of Bandish
in Aakar. We are then benefitted with two
things. Firstly, we understand the structure of
notes used in the Bandish and secondly, the beat
number or Matra on which the pattern ends, thus
understanding the interweaving pattern of
Bandish and Taal. She would also elaborate on
the importance of 5th, 7th and 10th beat, in a taal
with a plain structure, such as Ektaal.
It was under her tutelage that for the first
time I experienced a discipline in teaching. It was
a glimpse of Paluskar tradition for me. She
demonstrated in her riyaz that Aalap was not just
a glue of notes, (as it may be generally assumed)
but a beautiful necklace of shining pearly notes,
woven in the silken thread of Aavartan. I vividly
remember how the grand show of
demonstration, singing and playing Dagga
simultaneously, continued for hours leaving us
mesmerized.
Veenatai had a beautiful mind and warm
heart. The books, Uttaradhikar and Naadninad
she published in memory of her father, a disciple
25th July 2016

Eliminate the bad and see what is good

in others singing, try to identify what is suitable
for you and imbibe that in your singing. I still
remember these words when she was actually in
the formative process. We had always seen her
rehearsing tirelessly to achieve what she aimed
for. She was a perfectionist and never spared
herself till she got it up to the mark. Veenatai
viewed music as a wealth of knowledge and took
it very seriously. She executed with great
responsibility but never took a hard line
approach on technicalities. She managed a fine
balance of logical and innovative alternatives
while staying true to the music. The honesty and
faithfulness towards the art reflected in her
singing. Her special liking towards the vocal
form Tarana, took her to composing number
of Taranas. Having learnt dance in her
tender age, she composed Taranas full of
swings, Gamak and stressed notes. Her
vigorous Taranas were widely applauded by the
listeners. I still remember the thrill I felt listening
to her melodious Taranas with forceful,
undulating Taan patterns. Self-reliance and selfawareness were two more virtues I saw in her,

Sangeet Vikas Sabha, Pune

during my tutelage. She had immense clarity in

her approach and a varied repertoire.
Unlike most of the musicians, who learnt
in the Ustadi system, Veenatais musical genes
nurtured on the curriculum system. The musical
teaching tradition in Bodas family was passed
down to her. Her father Shankarrao Bodas,
mother Shantabai and brother Kashinath were all
music teachers of Paluskar system. She received
further reinforcement in the Sahasrabuddhe
household. The neatness in her presentation,
presence of mind in selection of Bandishes,
announcing the name of Raga, and the
meaning of Bandish, thus making the listeners
comfortable, was a part of the Paluskar tradition
she inherited. That helped to build rapport
between the artist and the audience. I also found
manifestation of Paluskar tradition, which
combined good literature to enhance the
intellectual quality of music, when she designed
theme-based albums such as Rituchakra and
Pancharatnamala, and live presentation such as
Ritusangeet and Krishna Sandhya, in which
she incorporated works of famous Sanskrit and
Hindi poets such as Kalidas and Surdas.
All kinds of music listeners from
learned musicologists to untrained music lovers,
were equally mesmerized by her music. The
energy in her notes and beats, and the
authenticity of her music moved the experts in
the field. An innovative way of elaborating
phrases in a Raga in Khayal impressed the
learned. Similarly, a detailed, cyclical
expansion of Raga in Khayal impressed the
learned, and apt choice of Bandish and

25th July 2016

attractive Taan patterns won hearts of lay

music-lovers. The deep impact of Kumar
Gandharva on her Nirguni Bhajans would make
the crowd lose themselves to the divinity of pure
notes.
The notes must stay crisp and the
Laya pattern in them should be varying. This
will keep the audience engaged, she used to
say during the practice session. She practiced all
forms of music from film music to Ghazals
with full sincerity to develop crispness. As a
postgraduate student of both Sanskrit and
Praveen, equivalent to Doctorate in Music, the
experiments such as Saraswati Upasana Stotras
and light emotional songs in Bhava Veena were
successful.
Just as in India, Veenatai took the
audience abroad by storm when she performed
as an eminent singer of Gwalior Gharana. Her
fans and followers all over the world still cherish
her Raga Shree in unforgettable concerts. Baba,
as an authoritative figure in Computer Science
used the technology appropriately to propagate
Veenatais melodious voice all over the world.
He worked as a frame of a beautiful painting till
her last breath.
As a Shishya, and researcher of music, I
have meekly tried to unfold Veenatais genius. I
am very well aware of the shortfall in my
perceptions. Still, recollecting her virtuosity was
like re-discovering new facets from the revised
lessons by me. She will forever be remembered
as a brilliant singer of the Paluskar tradition and
will be in our hearts as a generous Guru for all
students.

Sangeet Vikas Sabha, Pune

Aakruti & Prakruti Form and Nature of Ragas

~ Seemantini Satre

Preface
Hindustani Classical Music, has evolved,
over the years, with the wealth of thousands of
distinct ragas. Although, ancient literature talks
about these ragas, in todays times, practically,
only 100-150 of them, are in vogue. While
studying ragas in detail, for the purpose of
performance, it is very important to study the
relative similarities in ragas. And for this purpose,
it is imperative to understand, why so many ragas
were created in the first place.
Raga and its mood
A simple definition of a Raga could be
a melodious structure of a peculiar combination
of Swaras or notes, which is capable of
elaboration. Every Raga is, in its simplest terms,
a tune, which can be sung or played repetitively
and creates melodious and soothing phrase made
up of these notes. Every raga creates a specific
but abstract mood and influences the minds of
the listeners with this mood. These moods could
be of various human emotions, like joy, sorrow,
agony, pathos, happiness, romance, energy and
many more.
These thousands of ragas have been
created out of only twelve notes (7 Shuddha /
pure notes and 5 Vikrut notes), but no two ragas
of these, are completely identical, even though
they may use the same swaras. And the reason is,
even if they use the same notes, the treatment
given to these notes is different, and that is why
they produce different emotive content, i.e. they
produce different moods. Human emotions, also
25th July 2016

can be seen in different degrees of severity.

Happiness could be felt due to various reasons,
like meeting an old friend after many years or
seeing innocent smile on a childs face, or
meeting ones beloved. All these three situations
are examples of happiness, but of a different
kind. Exactly in the same way, every raga
produces a mood or Rasa of a different kind, and
to feel these disparate emotions probably, so
many ragas were born.
Comparison among Ragas Sama Aakrutik
or Sama Prakrutik
There are many ragas in the Hindustani
Classical Music, which use the same notes, but
the ragas are not identical. Rather, if they were
identical, in terms of their impact or rasa which
they generate, they would not have been created
in the first place!! Let us look at some such ragas,
to explore them in greater detail.
Sama Aakrutik Ragas
Sama Aakrutik ragas use the same notes,
but these notes are treated differently and this is
how, each raga establishes and maintains its
unique identity. In these ragas, same notes are
being used, but the method of singing them, the
specific combinations of swaras with other
swaras, the resting places (Vaadi and Samvaadi
notes, Nyaasa note) are all different. Due to these
differences, they generate different moods and
pace.
Raga Darbaari and Raga Jaunpuri could
be one of the best examples to understand this
concept. Both these ragas use the same notes, but

Sangeet Vikas Sabha, Pune

their sequence in the raga and their treatment

(Swar Lagaav) is different. And due to this very
reason, they become distinct ragas, producing
distinct moods.
Salient similarities in Raga Darbaari and Raga
Jaunpuri
o Both the ragas are said to be originating from
the Aasavari Thaat (A Thaat is a set of
notes, with a peculiar sequence, which gives
it an identity, to be called as a family of ragas,
all ragas belonging to, or originating from a
Thaat, are similar in terms of selection of
notes and the broad impact).
o As both these ragas use the same notes, there
are similarities in few of their combinations.
But in spite of these similarities, due to the
disparate treatment given to these notes, the
Prakriti of these ragas has become completely
different from each other.
In Hindustani Classical Music, every raga
has a distinct personality. Due to this reason,
every raga generates a different mood. There are
ragas that use different notes, but generate
similar feelings and give similar emotive
experience to the audience. Such ragas are called
as Sama Prakrutik ragas.
Sama Prakrutik Ragas
A broad definition of Sama Prakrutik
Ragas could be ragas that produce similar
emotive content. These ragas may or may not use
identical notes, but they possess similar musical
personality.
Musical personality or Vyaktitva of ragas is
driven by many factors few of them are as
follows

Selection of swaras

same notes. Both of them use Komal

Rishabh, Teevra Madhyam and the rest are
Shuddha swaras. Both omit Pancham swara.
Both are a twilight melody and both are
Gambheer Prakriti (solemn mood) ragas.
In spite of similarities in the swaras,
these are distinct ragas, due to minute but
well defined differences and these
differences define the purpose of their
creation.
Raga Maarwa is gloomy and low
spirited, but aggressive and relatively
speedier whereas, Raga Pooriya is serious,
extreme slow paced and blooms better in the
Mandra and the Madhya Saptaks (the lower
octaves). Raga Pooriya, in this manner, is a
big raga, in terms of its capabilities of
elaboration and exploration.
Vaadi, Samvaadi and Nyaasa swaras
Every raga has many swaras, but
there are a couple of important swaras which
are the highlights of that raga. These swaras
are used more often than others and they
define the raga, their emotive character and
their Rasa or feelings which they generate.
As an example, Raga Bhoop and
Raga Deshkaar, use identical swaras, but their
Vaadi and Samvaadi swaras are different.
Raga Bhoop uses Shuddha Gandhar as the
Vaadi swara and Shuddha Dhaivat as the
Samvaadi swara, whereas, Raga Deshkaar
uses Shuddha Dhaivat as the Vaadi swara and
Shuddha Gandhar as the Samvaadi swara.
Due to these differences, Raga Bhoop
blooms better in the Mandra and the Madhya
saptak. Raga Deshkaar traverses more in the
upper octave and its capability of creation
and exploration has become limited.

Swaras give a personality, a character

to the raga. And that is why, ragas using same
notes, could have similarities. As an example,
Raga Maarwa and Raga Pooriya, deploy the
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Sangeet Vikas Sabha, Pune

 Swaraantar, Meend and Aandolans

In many ragas, position of the swaras
and omission of a one or more swaras, the
space of distance between the swaras
increases. This reduces the speed with which,
a raga could be sung or played. To fill up these
gaps, created naturally due to the space or
distance between the swaras (called as
Swaraantar), an artist has to make use of
Meend.
A Meend is a method of applying
the swaras in a curvy manner. Meend uses
slight touch down approach while applying
notes and adds beauty to the rendering.
Meend should be used only in ragas which
demand more intensity and are typically low
paced, in most cases. Hence, the ragas that use
more of Meend, tend to get slower, bigger (in
terms of creation and exploration) and more
serious. Ragas that use straight or direct
approach to swaras, are many a times,
speedier, lighter in mood and energetic.
Typically, ragas which signify festivities use
less Meend and use the direct Swara Lagaav,
which makes them aggressive and energetic,
e.g. Raga Basant, Sohani and Bahar etc.
An Aandolan is wavy treatment to
the notes. Aandolan uses slight touch of the
earlier or the next note to create a wave like
effect. A typical example of the Aandolan is
Komal Gandhar and Komal Dhaivat of Raga
Darbaari. In this raga, the Komal Gandhar
uses slight traces of Shuddha Madhyam, in a
wavy fashion, to create waves of emotions.
Such waves, reduces the speed of the raga and
makes it more sombre and solemn. Raga
Jaunpuri, which uses the same notes, does not
use Aandolans or the wavy treatment, and
hence remains to be a speedy and less serious
raga, by personality.
Artists vision and creation
Every artist paints the picture of the
raga in his mid and in front of the audience,
25th July 2016

using his own knowledge, the practice or

Taaleem received from his Guru or Gharana
(A Gharana is a musical family of a peculiar
style of rendering) and his own vision of the
raga and its mood. This depends on a lot many
factors, like, the life of an artist and his
musical upbringing, his life experiences, his
musical temperament and his creativity.
Due to this reason, the same raga
rendered by different artists may create
slightly different emotive content, e.g., Raga
Lalat, sung by Bharat Ratna Pt. Bhimsen
Joshi, appears serious, divine but aggressive,
whereas the same raga sung by Padma
Bhushan Pt. Padma Talwalkar, sounds
soothing and devotional. Raga Basant sung by
Pt. Veena Sahasrabuddhe sounds aggressive
and energetic but the same raga Basant sung
by Pt. Rajan and Sajan Mishra sounds mellow
and soft. So in this way, the Prakriti or
character of the raga, is also governed by the
treatment given by an artist through his own
style and vision.
Bandishes (lyrics) and Kaavya (poetry)
In Hindustani stream of classical
music, the primary mood or rasa of all ragas
has been assumed to be devotional. There are
a few ragas that were created for generating
specific rasa, but most of them create the
environment of divinity and peace.
But, the poetry or lyrics of the
Bandish (a Bandish is the short lyric used by
artist to present a raga) plays an important role
in creation of the mood. A Bandish with
romantic words and phrases, tend to create
similar emotions and Bandishes with
devotional subjects take the audience closer to
spirituality. So, in this way, the Bandish, its
structure, the Taal (rhythm used for rendering
the Bandish), the Laya (the tempo) , the Sam
(the first beat of the Taal) and the Swara
which is arranged for the Sam, all contribute
to the effect and the mood created by the raga.

Sangeet Vikas Sabha, Pune

10

Monologue
~ Charuhas Damle

Now the concert has ended

And this tale is over
The notes of Bhairavee (have) drenched (my soul)
And the tunes still linger in my ear

I am content (and) I am pacified

(I feel) Like Shadja (the premier note) of Marwa.
My passion for music calms me,
Satisfied in the petals of a lotus, like a mused bee

I am neither a word nor a sound

I am no longer Taal (rhythm) bound
Unsure to which Raga I belong
I am now free Aalap, unbound

I am searching for the lost vibrations

Inside the Veena of my soul!
Someone who struck a chord in my heart,
HE is apparent, but Invisible!
~ Original Marathi Poem translated
by Dr. Aarti Dixit
25th July 2016

Sangeet Vikas Sabha, Pune

11

Tappa Style of Music & its Evolution A Workshop

~ Dr. Rasika Ekbote

Tappa is a beautiful and vivacious form

of semi-classical music originating from Punjabi
folk music and is sung along with other forms
such as Thumri, Dadra, Chaitee, etc.
A musical form called Dapa which
was prevalent at the time of Mughal Emperor
Aurangzeb, closely matches the Tappa form of
today. Although both these music types have
great resemblance, there is no evidence to
suggest that they were one and the same.
Ghulam Nabi Shouri Miyan is
considered as the inventor and earliest
proponent of the Tappa music form. During
the course of his khayal singing profession,
Shouri Miyan travelled to Punjab where he was
captivated and fascinated by its folk music and
love songs. He further presented these songs in
his own fluid and skittish vocal style which gave
birth to the Tappa form.
Tappa literally meaning bounce, in
style resembles the bouncing of a ball or the
gait of a camel in the sense its progression
comprises of swift movement of groups of
notes (Harkat). This musical form demands
specific vocal characteristics such as being able
to traverse briskly between notes as well as
precise and sharp vocal inflections. Classical
singers already have these abilities but Tappa
requires specific training and practice to sharpen
them further.
Shouri Miyan introduced the Tappa
music form in Lucknow and entranced the
khayal singers. This resulted in further new
25th July 2016

amalgamated music forms such as TapKhayal, Tap-Thumri and Tap-Dadra.

Gradually it spread to other parts of India such
as Rampur, Banaras and Gwalior etc. Between
1780 AD and 1800 AD Lucknow is considered
as the epicenter of the Tappa style.
Bade Muhammad Khan was invited by
the King of Gwalior, Daulatrao Shinde for his
superlative musical prowess and fame. Nathan
Peer Baksh settled in Gwalior with his
grandsons Haddu and Hassu Khan. It was
through these luminaries that tappa was
assimilated into Gwalior school of music and
further became a specialty of the Gharana.
Haddu and Hassu Khan as well as
Nathan Khan further trained their disciples
in Khayal as well as the Tappa music form.
Amongst these were Krishnarao Pandit,
Rajabhaiyya Poochwaale. The lineage further
extended to Rajabhaiyyas disciples
Sadashivrao
Agnihotri,
Balasaheb
Poochwaale, Wamanrao and Govindrao
Rajurkar.
Pandit Balasaheb Poochwaale was
equally famous as a Tappa singer as he was as a
Khayal singer of the Gwalior Gharana. He
further trained Pandita Malini Rajurkar,
Shashwati Mandal and Dr. Jayant Khot is the
Tappa style of music.
Pandit
Balakrishnabua
Ichalkaranjikar assimilated the art of Tappa
singing from Devjibua and further trained his
students in Maharashtra, the foremost amongst

Sangeet Vikas Sabha, Pune

12

them being Pandit Anantbua Joshi, Pandit

Yashwant Mirashibua and Pandit V D
Paluskar. This is a very concise account of how
Tappa became an integral part of semi classical
music in all of Northen India and yet in true
sense it is extremely difficult to master the art of
singing Tappa without proper guidance and
training.
Consider the following patterns of notes (middle
octave in title case such as Sa, Re and upper
octave in upper case such as SA, RE):
SaReGa, ReGaMa, GaMaPa
SaReGaMa, ReGaMaPa, GaMaPaDha
SANiNiDhaPa, NiDhaDhaPaMa,
DhaPaPaMaGa
PaPaMaMaGaGaReRe,
MaMaGaGaReReSaSa etc

These notes are taken in a very swift manner in

either boltaans or aakar taans and require very
specific training. The literature of tappa is
traditionally in Punjabi language. It uses the
forcefulness and grace of the language to depict
beauty and attractiveness. Tappa also uses very
specific beat cycles such as Punjabi (cycle of
16 beats) or Pashto (cycle of 7 beats). The
wizardry of a Tappa singer lies in their ability
to land on a sum or first beat of the beat-cycle
with intricate patterns of swift taans while
singing the composition. A tappa is quite often
followed by a fast paced Tarana generally in
Teentaal (cycle of 16 beats).
Gwalior Gharana singers such as Pandit
Balasaheb Poochwaale and Pandita Malini
Rajurkar are known to sing Tap-Khayal as well.
It is sung in slow-medium tempo of Tilwada
(cycle of 16 beats), but the movement of the
composition as well as the improvisation is at a
brisk pace and reminiscent of the tappa. Very
similar in concept is the Tap-Thumri, which is
sung in Deepchandi (cycle of 14 beats), but the
harkat and Murki are in accordance with tappa.

25th July 2016

It is thus worth mentioning the joint

effort of two institutions Arohi Sangeet
Academy of Pune and Roop Bandish to
bring forth the training of Tappa singing under
the direction of Akhil Bharatiya Gandharva
Mahavidyala Mandal to students of music. The
two institutions jointly arranged a workshop
by Dr. Jayant Khot, Head of the Music
Department of Allahabad University and a
disciple of Pandit Balasaheb Poochwaale.
The workshop was held on the 28th and
29th of June 2016 with a participation of around
20 students. Dr. Khot guided students in the
proper technique of practicing and presenting
Tappa and also taught the students Tappa in
various taal such as Punjabi, Roopak, Addha and
ensured each individual student sung it properly.

Workshop
by Dr.
Jayant Khot

The highlight of the workshop was in the

way Dr. Khot was able to simplify Tappa style
and thus remove the tentativeness amongst the
participants in singing Tappa. This was only
possible by the commendable efforts of the
director of Arohi Sangeet Academy Sau.
Sampada Vipat and the organizer of Roop
Bandish, Sau. Anjali Malkar.

Sangeet Vikas Sabha, Pune

Original Marathi Article translated by

Sameer Bildikar

13

Sangeet Ratnakar by Sharangdeva - Book Review

~Sameer Bildikar

musicologist in the court of Yadava King

Singhana II. Sharangdeva is believed to be of
Kashmiri ancestry and his grandfather had
migrated to Devagiri (present day
Daulatabad in Maharashtra, India).
By the time Sangeet Ratnakar was
penned, music had been established as an
independent performing art, and the treatise talks
about every aspect pertaining to music that was
relevant at that time. It talks about Sangeet as
a whole including singing, instrumental music as
well as Dance.
Given below are the seven chapters covered by
Sangeet Ratnakar

Amongst the numerous music treatise that delve

into the depths of Indian Music, Sangeet
Ratnakar stands out as one of most important
creation of the middle age. In importance it
parallels Bharatas Natyashastra of the ancient
age. Written in the 13th century Sangeet
Ratnakar can be the very embodiment of
the scientific thought process of Indian
Music. In explains the principles of Indian
Classical music in a very detailed and precise
manner. The treatise is considered a foundation
upon which modern classical Indian Music is
built.
The creation of Sangeet Ratnakar is
attributed to Pandit Sharangadeva, a 13th century
25th July 2016

1. Swaragatadhyaya () It describes
the elements described in the Gaandharva
chapter of Natyashastra. Sharangadeva
considered Maarga as parallel to
Gaandharva. He considered Jaati as the
origins of raga. This was subdivided into 7
sections
a. Padarthasangraha Prakarana (
) Information of Mangalacharan,
writers introduction and introduction to
7 chapters. The author commences with
an account of his genealogy i.e., about his
family and the Kingdom where they
lived. The author also declares that
among the three constituents of Sagta,
Gta is primary and the most important.
Hence the treatment of Gta is taken up
by him first. The author also gives a list

Sangeet Vikas Sabha, Pune

14

of ancient writers on music and related

arts from whose work he has drawn out
the essence and presented in
Sagtaratnkara. Some of them are
Bharata, Kayapa, Mataga, Khala,
Vikhila, Dattila, Abhinavagupta, and
Smvara.
b. Pindotpatti Prakarana ( )
This describes the development of
human body from embryo to birth to
maturity with the help of Ayurveda
c. Nada-Swar-Shruti-SwarjaatiKuladevataRshi-Chhando-Ras
Prakaran

( )
Describes basic principles of music such
as Nada, Swar, Shruti, Jaati etc. This
prakaraa describes how Nda arises in
the human body and how the Nda
manifesting in the three Sthna-s or
places in the human body (a) Hd (heart
region), (b) Kaha (throat) and (c)
Mrdh (head region) gives rise to
Mandra, Madhya and Tra varieties.
d. Graamamoorchanakramataan
Prakarana ( ) This
prakaraa deals with Grma, Mrcchan,
Krama and Tna. Three Grmas are
described - aja-grma, Madhyamagrma and Gndhra-grma. The names
of the Seven Mrcchan-s in each Grma
are also given. Among the tnas there are
two kinds- uddha and Ka. uddhatna is a Mrcchan devoid of one or two
svara-s. Ka-tna-s are those varieties of
Mrcchans in which the svaras occur in
a disorderly way e.g.,s g r m p d n'. Those
varieties in which svara-s are present in
an order are called Krama-s.

25th July 2016

e. Sadharan Prakarana ( )
Talks about sadharan (normal) notes and
vikrut (deviant) notes
f. Varnalankaar Prakarana (
) The sixth prakaraa is on Vara
and Alakra. Vara-s denote the
different kinds of movements that a
melodic line can take. There are four
varasSthyi, rh, Avarh and
Sacr. Alakra-s are ornamental
patterns of svara-s that decorate a
melodic line. Alakra-s are classified
under the four Vara-s
g. Jaati Prakaran ( ) - Talks about
the characteristics of jaati. Shuddha and
Vikrut jaati with examples and
composition. It also talks about the 10
characteristics of Jaati.
Graha, Ansha, Tar, Mandra, Nyaas,
Upanyas, Alpatva, Bahutva, Shadava,
Auuva.
In addition it talks about three more
lakshana
Sanyasa - the svara on which a
portion within a section of a song
concludes.
Vinyasa - the svara on which a
melodic phrase especially underlying
a word, concludes.
Antaramarga
the
special
movement of the melody involving
the Ansha and the Alpa svara-s
taking place in the region between
Graha and Nyasa svara-s.
h. Geeti Prakaran ( )
Characteristics of Kapaal and Kambal
gaan, Pada of Kapaal, characteristics of
padashrit geeti etc.

Sangeet Vikas Sabha, Pune

15

2.

3.

Ragavivekadhaya () The
second chapter describes the Ragas Marga
and Deshi. Among the Margi ragas there are
six varietiesGramraga, Uparaga, Raga,
Bhasa, Vibhasa and Antarabhasa. The four
kinds of desi ragas are Raganga, Bhasanga,
Upanga and Kriyanga. Gramragas resemble
the Jati-s closely and they are further
classified on the basis of the different
melodic styles characterizing them. These
styles are called "Gti" and are of five
kindsShuddha, Bhinna, Gaudi, Sadharani
and Vesara.
Prakeernadhaya () The third
chapter deals with a variety of topics. They
are
a. The characteristics of Vaggyekaras.
Vaggyekaras are composers of both the
melody and text of a song.
b. Gua-Doshaa: The characteristics of
different kinds of Voice; Merits and
Demerits of Male singer (Gayana),
Female singer (Gayani), Shabda and
Sharira.
c. Gamaka: There are fifteen kinds of
Gamaka-s, namely the kinds of shake
or oscillations that svaras can be
endowed with.
d. Sthaya: There are ninety-six kinds of
Sthayas, which represent the feelings or
effects associated with raga phrases.
e. Alapti including ragalapti and
rupakalapti.

4.

Prabandhadhyaya () Prabandha
represents a collection of musical forms
described in terms of two aspects, namely,
'Dhatu' and 'Anga".
Dhatu denotes the different sections, which
are, at a maximum, five: Udgraha, Melapaka,
Dhruva, Abhog and Antara.

Anga are six: and denote the content of a

song. Svara, Biruda, Tenaka, Pata, Pada,
Tala
These cover the three aspects of Music Melody, Tala and the text.
5. Taladhyaya () Describes tala
units such as Laghu, Guru, Pluta and also
talks about Margi tala such as Chanchatputa
and Chapaputa and Desi taal
6. Vadyadhyay ()
a. Tata - Ekatantr, Citr, Vipac,
Mattakkil, lpin, Kinnar (Stretched
string instruments)
b. Suira - Vama (of different sizes),
Khala, akha (wind instruments)
c. Avanaddha - Huukka, Paaha (vessels
covered with stretched membranes)
d. Ghana - Kmsyatla, Gha (solid,
dense objects)
7. Nartanadhyaya () It deals with
dance in 2 chapters Nartana and Nava
Rasa.

Quote from Sangeet Ratnakar

Geetam Vaadyam Tatha Nrutyam Trayam

Sangeetamuchyatey
Music is said to be the culmination of the 3
elements, Song, Instrument and Dance.

25th July 2016

Sangeet Vikas Sabha, Pune

16

In the expansive and all-encompassing

world of music, Sangeet Ratnakar truly
stands out a detailed and organized treatise
which documents the erstwhile established
principles of music and also helped pave the
way for the future generation to evolve them
further.

him and presented the gist of their works

through Sangeet-Ratnakar. The music
principles that were evolving at the time of
Matang Muni are firmly established at the
time of Sangeet Ratnakar. These are the very
same principles that have been evolved into the
science of modern Indian Classical music.

Sangeet Ratnakar has been and will

continue to stay at the helm of Indian
Classical Music and will be a source of
inspiration, information as well as critical
evaluation for all musicians past, present and
future.

Although every element as described in

Sangeet Ratnakar is not prevalent in the music of
modern times, it is very evident that the
principles established by Sharangadeva in
the 13th century still continue to form the
foundation of music as we know today.

Sharangadeva meticulously studied about

forty musicians as well as music treatise before

25th July 2016

Sangeet Vikas Sabha, Pune

17

Raga Conversation
Raga Todi is popularly known as Miyan
ki Todi. This Raga is extensively used by the
music directors in films, Ghazals and light music
because of its inherent expressive ability. The
notes and movements in this Raga are such that
they can create different moods. Re Ga Dha
(Komal) and Tivra Ma is the main feature of
this Raga. Pandit Bhatkhande has included the
scale of the Raga in the Thaat (groups of Ragas
with similar note subsets) classification.
We get the first reference of this Raga in
the thirteenth century. Raagvivek, the second
chapter of Sangeet Ratnakar, written by Pandit
Sharangdeo, mentions Todi as a derivation of
Graam Raga.

During this period, the Turkish people

had already arrived in India, and established
their own music. One of the Dastgaah
(musical mode) of their music became
popular during that time, and perhaps it is
named as Turushk Todi, which Sharangdeo
mentions as an Adhuna Prasiddha (recently
popular) Raga. If it is so, we will have to
reconsider that Miyan ki Todi existed before
Tansen. This needs more research to corroborate
the fact.
Though Bhatkhande mentions Todi as
Sampurna Sampurna (all seven notes in
ascending and descending movements), most
singers sing Sa Re (flat) Ga (flat) Ma (sharp) Dha
(flat) Ni Sa. Sa Ni Dha (flat) Pa Ma (sharp) Ga
(flat) Re (Flat) sa.

25th July 2016

Raagmala Painting Raagini Todi

(Kangra, Pahadi circa A.D. 1790)

Fifth note is very meticulously used in

this Raga as a resting note. But, there are a few
compositions which have Mukta (free) Pancham.
Different Gharaanas have different structures of
this Raga, which is why this Raga has different
moods.
Sa Re (flat) Ga (flat) Ma (sharp) Dha (flat)
Ni Dha (flat) Pa, Ma (sharp) Pa Dha (flat) Ma
(sharp) Ga (flat) Ma (sharp) Re (flat) Ga (flat) Re
(flat) sa, is the normal structure of this Raga.
Another Raga that is closely related to
Miyan ki Todi, is Gujri (or Gurjari) Todi. This
Raga altogether omits the Pancham, creating
another shade.

Sangeet Vikas Sabha, Pune

18

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SVS EMAGAZINE TEAM

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