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'

Rosier

(37

^01 xo-iirHcx.
i

Indian Music
BY

SHAHINDA
(Begum
Fyzee-Rahamin)
with Preface by

F.

GILBERT WEBB

WILLIAM MARGHANT & GO.

The Goupil Gallery
5

Regent Street
London, S.W.

. ..

.. .

Index.

CHAPTER
"

I.

History of Indian Music"

CHAPTER
"

II.

Sur-Addhya'' (Law of Tones)

..

..

..

21

CHAPTER
"

III.

Raag-Addhya" (Law of Tunes)

38

CHAPTER
"

IV.
. .

Ast-Addhya" (Law of Musical Instruments)

69

CHAPTER
"

V.
.
.

Tales of Indian Music"

80

Preface
This
little

book

is

modest

attempt to

explain
spirit

to

Western minds the

construction, peculiarities

and

of

the ancient music of India.

Captain Day, in his illuminating

India, has

volume on the music of the Decan, or Southern

revealed the elaborate system which prevailed at one time

in

that

portion of the Empire, but this

its

is

only the offshoot

of the original system, which had

birth

and growth

in

the North in ages which recede from the tract of history

into the

dim regions of legendary

that
is

lore.

Much
pertain
to

described

in

these

pages
the

may seem
possibility

to

the

imagination

rather

than

of

practice, but the points of

view of the Eastern and Western

as the social

brain are as far asunder

systems of Eastern
fact

and

Western realms.

One

great

fundamental
outlook
is

with

regard to their

respective

musical

that

whereas

the Western musician concentrates his attention on the centre

of each note forming a scale, and his ears will tolerate no
variation

from

that

central

point,

the

Eastern

musician
between

concentrates his attention on the gradations of pitch

the centre of

each

note.

Where

the Western

musician

strides

from note

to note, his

Eastern brother glides between.

To

the latter the approach and the leaving the central point

is all

important.

It

is this

that has in the

course of ages
subtle

led to the

wondrous system of varied treatment of

tonal gradations, and to the multiplication of ornamentations,

well nigh infinitesimal in

number and

character.

So

delicate

and subtle are these gradations that

it is

only cultivated ears

that can perceive them, and recognise their endless variety

and

significance.

The

ability of the trained Indian

musician to infuse his

individuality

by almost endless

variations
is

on

what may

be termed the skeleton of the tune

to

practically

unknown

Europeans.

This will be perceived by a perusal of the

explanation of "

Taans

"

in

Chapter Seven.
little

Much

Indian Music has

or no

meaning

to

Western

ears owing to inability to detect and appreciate tone-shading as varied and as fleeting as a

summer

rainbow.

The

origin of these fine gradations of pitch undoubtedly

was, and has been developed in great measure by, the thinness

and length of the strings used on the ancient

instruments.

classical Indian

That there should have been

little

endeavour to

thicken these strings or to obtain greater resonance and

power

must be attributed

to the predeliction of the

Eastern mind to
in musical

sublety of thought which found

its reflection satisfied

sounds of delicate quality.

The music
idiosyncracies

of

all

countries
states

is

ever the
its

echo of the

and mental
of

of

producers, and the

extreme

delicacy

Indian

music

is

only

the

faithful

analogue in sound of the elaborate and marvellous complexity

of eastern pattern-making, as seen in
iu the
its

greatest developments

weavings in

silk

and wool, the symbolical meanings of

initiated.

which can only be perceived by the

and evasive
is

Yet more elusive

the music of ancient India which revels in the

to

gossamars of thought and strivings dreamings of the mystic East.

make

audible the vague

F.

GILBERT WEBB.

May, 1914.


History of Indian Music.
Chapter
I.

JNDIAN MUSIC
It
is

is

three
to

thousand years

old.
It

is

attributed

be of Divine origin.

most complicated and intricate system of the musics of all nations, and a science hardly to be excelled by any creation of the
far

by

the

human
It

mind.

has

highly

coloured
in

and

fascinating
texts,

history, to

be

found

the

ancient

pre-

served and handed

of ages and

down

to us, surviving

cycles

ravages of time.
old branches of learning,
faiths,
it

Like

all

is

based
the

upon and
social

the

religious

observances,

legends

traditions

of

the

country,

depicting

manners and

customs

of the

people, in

the history of the tunes, and

words of the song.

of

Indian

There are various versions as to the origin Music. The two mostly quoted
are
:

traditions
(a).

That it is descended from Brhama, brought into vogue by Mahadeo and Nardaman, and performed by the great Naiks, i.e., Masters of Music, from time to time. (b). That a strange bird called " Musikar" 1 or Dipak Laat 2 inhabited the Caucasus mountains, and its beak had seven apertures through each
;

Dipak
is

it is also the name of a Raag, i.e. male tune in literally means fire The peculiarity of this wonderful tune is that when it the Indian Music. played with the right notes in the right season its power is so great that it excites the element of fire in nature, and creates fire.
;

Laat means hot scorching winds.

of

these

openings
note,

it

was

able

to

blow

year

and at different seasons of the combined these notes into harmony, and produced Raags, x congenial to that particular Its hour of the day and season of the year. years, when and age was that of a thousand
different
it

its

life

was about
and
its

to
pile

end,

it

fell

into

ecstacy,
its

and accumulated a
environs,

of combustibles from

danced
beak

around
the
for

it

in

state

of

absolute

frenzy,

playing

various
length

notes
of time

and
in

tunes

from

When, however, it harmony with the seasons. touched upon the notes of the Raag Deepak, fire was at once ignited, the pile burnt up, and ultimately it plunged into it, and became Sati. After a time an egg was created out of the warm ashes, which in due course became a
Dipak-Laat.

Thus from times immemorial, one

born, lived
to
is
its

bird

was
bird

weird

life,

and

in

the end turned

ashes, then

another and

another.

The

supposed
This
is

to

be extinct now.

the strange and fanciful story handed

down

to

posterity,
is

and

which

every
find

musician

of repute

fond of repeating.

From
Divinity,

the earliest times

as sacred.
It

we

that

music

was regarded
and

performed
celestial

was originated from by divinities. There

beings,

were professional
;

such

as

the

Raag means tunes there are six Raags that are male tunes in the Indian Music, and each Raag has got its own five or six Raagnis. These tunes have seasons of the year, and hours of the day, when they should be played or sung. Any departure from the rigid law incapacitates the beauties and subtleties of the tunes, and violates the sanctity of the Alt.

II

Gandharvas and Apsarasas who performed before

the Gods.

Brhama indulged in the Art for relaxation. Saraswati, the Goddess of Learning and Music,
invented
the
exquisite

Veena,

the
is

instrument
a
brilliant

which
figure

bears her

name.

Narada
Beings

among

the Divine

in

the musical

Shiva in the act of his Divine Dance, shook the universe with his marvellous performance. His wife Parbati has been the subject of many a poetical idea. The " Rudra Been" is the
world.
definite composition of her sleeping lovely

form.

was cultivated so freely among the Gods in Heaven it affected the mortal beings on earth. The kings indulged in it, so did their subjects, until music study was
the

When

Art

of vital

importance
it

in

the

very

ancient

ages.

To

learn

was compulsory.

The youths were

taught to sing the Divine Praises and Prayers, and the secular studies were imparted to them
in

tunes.

Millions of musicians of
in the land,

all

grades flourished
impositions.

and multitudes of professionals were

all

supported by the State, free from

Their
secret

one

object

in

life

mysteries,

and

was to expound

unravel
the

the

hidden

doctrines of the sacred

Art.

There were no religious rites, ceremonials, forms and observances inside or outside a home in which music did not play an important part. The very existence of the people seemed to
depend upon
its

practice.

12

Temples and shrines, and all sacred places, were thronged with devotees who were all
absorbed
in

that

class

of

music,

called

the

" Devotional

Music," night and day.

The
miracles

villages

had bards and minstrels,

village folks

who
the

entertained the
of

with
of

tales

of

Gods, philosophies

the

ascetics

and sages, biographies of noble and and

high

men

women and
time

love romances in inflected

on,

recitative.

As

went

India

passed

through

vicissitudes and historical changes.

People were

thrown

in

a chronic state of disturbance.

Their

favourite vocations

were deprived
of living.

to a great extent

were interfered with, and they of their freedom

music,

The present degradation, and neglect of show the remarkable degeneration and low

status to

productive

which the people have sunk. All the genius, of which the land was so rich and brimful, is effectually crushed out until no trace of its former glory is left. To acquire anything of the Indian Music in the present day, one has to be specially gifted by the Gods. We have no facilities of learning, in the way of preliminary books or notations, nor have we any recognised schools
of high

order or merit, accessible to

music.

the

lover

or seeker of

All the mysteries of this

Glorified Art are confined to the ancient Scriptures,

in unintelligible

Brij-Bhasha and Sanskrit, carefully

in

hidden

away from the gaze of the masses some antique remote corner.


13

Music
certain

was handed
the male

down
as

traditionally

in

families,
all

celebrated

great

artists.

Almost
able to

members among them were

interval

play and sing, and during the

of

certain

number

of

years,

you

heard

of

mighty men like Naik Gopal, Naik Baijoo, Taansen, Amir Khusrao, Mir Nasir Ahmad Dehlavi, etc. etc., springing up from the unknown, and stirring the very forces of nature by their
extraordinary performance.

These families are still to be found they few and far between, and scattered in the They have knownorth and south of India. ledge of these priceless texts, and some are even
;

are

in possession of them, but they

guard these with

religious

secrecy and reverence.

Works on
Few
subjects

Indian Music.
in

have been more enveloped

mystery and darkness than Indian Music. After a careful research, we find that some great works were written by eminent masters in the ancient days, in a most intricate and difficult language, meant more for the comprehension of Among the well-known teachers than students.
authoritative versions existing to-day are
i.
:

Sangeet Darpan. This is a highly prized book of importance written in old Sanskrit by
Shastri
It

Chatr
of

Damodar Shavan Bhut

the

of

Kasi.

treats

Sapt-Addhya

(seven

laws

of

music)

and imparts valuable information.

14

another old MS. of value, written more than seven hundred years
2.

Raag-Ratnagar.

This

is

ago,

by Sarang Deo Pandit, containing

3.

a store

of

information.

Raag-Mala
in

is

written

in

Brij

language

Nagri

characters

by

Bhasha Ganga-Dhar.
or less

The whole book is written in verse. There are many more books of more
time.

importance written on the subject from time to

Most of them
texts,

are

based on the above-

mentioned

and when the author has been

unable to grasp the meanings of the masters, he

has reproduced portions.

no books in the proper order and method have really been written, pointing out the stages, one after another,

So

that

it

will

be seen that

facilitating the

study of the science.

for "revival of

At the present day the craze

old
arts" has

resulted

in the

establishment of a

few music schools, scattered in Bombay, Baroda, Poona, Mysore and Calcutta, and self-styled professors

"notation,"
notation.

have compiled a series of primers, called imitating the Western system of

of the of

Most to be regretted is the substitution harmonium in place of the sweet strains Sarangi (Indian violin) for accompanying

purposes.

more disastrous metamorphosis cannot be imagined. There is not the slightest idea or semblance of the rich classical and original
Indian melodies in these chopped-out hybrid
tunes, sung
silly

by a number

of students together.

15

Similarly,

some tunes
but
Indian
real

of

are set to music and played

modern invention by a band. They

character.

are

anything
of

in

As
is

matter

fact

the
it

Indian

music
itself

so

constituted

that

does not lend

it

to

such

tricks of popularising-

as organ-grinding, school
etc.

choruses, bands, theatre, orchestras,

It is

much

too earnest, real, heavy, beautiful,

for
light
it

almost

Divine,

amusement,

and

thorough knowledge of

means self-abnegation
and more.

and serious study, of a

life-time

Muts.

A
i.e.,

peculiar

feature

of the

Indian

Music

is

the distressing and confusing institution of Muts,

the classification of Raags (male tunes), and Raagnis (female tunes) and Talas (times). In the ancient Raagmalas and Sungeets

(works on music),

we

find

that

music was of
in

an awe-inspiring, deeply

religious, highly classical

it,

and complex nature.

or

The Gods indulged

their

men

of great learning and piety, such as those

individualities
in

who had submerged

Divine path.
Sixteen thousand

the

tunes, and

and

sixty

Talas

(times) are

three hundred mentioned as used

by them in those days, almost inconceivable to our mind and understanding. " Krishna perfectly intoxicated by his own music on the flute, commenced to sing. His

16

sixteen

thousand

Gopees
ages,
it

followed

him,

each

producing a Raag (tune)."

In

the

middle

was brought
of

to

comparatively appreciable and systematic

basis,

overshadowing the inaccessible heights so-far Sublime Music.

after the Divinity
i.

the

Four Muts were decided upon, each named

who was

the originator of

it.

Sumeshar or Shew Mut.

Sumeshar

is

one

of the appellations of

Mahadeo (Adam).

Mut literally means intelligence. This Mut named after Mahadeo, and the method of singing and playing in this Mut is like the method with which Mahadeo sang and played,
is

and one which

It

is

extremely
Raags, and
its

difficult.

has

six

thirty-six

Raagnis,

each

Raag having
Kalinath

own

six

Raagnis and eight

Putrs (sons).
2.

Mut.

So

named
ball,

alter

Krishna,

who was once

playing with a

on the shores
fell

of the sacred Jumna, with his playmates.

In the enthusiasm of a throw, the ball

into

the river.

Krishna immediately jumped

it.

in

the water in search of

When

he reached the bed of the

river,

he

found himself perched on one of the thousand heads of a monster serpent. The King of Serpents that inhabited the Jumna. The KingSerpent, on being thus ruthlessly disturbed, was

annoyed, and tried to sting him with the head on which he sat.

17

Krishna jumped over gracefully on another

head, and thus, by jumping on to different heads,

avoided
bit

its

deadly with

bites,

till

at

last

he found a

which he successfully tied the nose of the serpent, and thus freed himself from danger.
string,

of

Now
to

this

feat

of springing

from one head

infinite

another

was done
it

with

such
a

grace
pretty

and

beauty that
with
the

caused
are
is

peculiarly

dance,

elegant
historians

movements
pleased
a

and
to

actions,

which
upon,
dancing.

comment

and

this

to-day

recognised form of

Now when
mastered
sheer joy.
this

he got hold of the

situation,

string,

and
in

the

he

began

to

sing

He

sang with a certain method, and

Kalinath

method was called memorating that incident.

Kalinath

Mut,

comMut,
eight

Like Sumeshar
six

Mut has
got
its

also

got six Raags, and each

Raag has
Putrs.
3.

own

Raagnis and

Bharat

Mui.
in

So

called

after

great

ascetic

named
Bhajans,

Bharat,

who sang
of

religious

songs

called

praise

the

Gods, in

an

easy,

facile

singing and playing,

manner, creating a certain mode of distinguishing it from the

of execution and

two others in method ment of tunes.

arrange-

its

This Mut has six Raags, and each Raag has own five Raagnis, and eight Putrs and eight

Bharjas (daughters-in-law).

15

This

is

the only

Mut which has

the additional

tunes Bharjas.

the

Hanuman, or Hanout Mut. So called after famous general of Raja Ramchandarjee, Hanuman (King of Monkeys), who conquered
4.

Lanka (Ceylon), and, flushed with victory

noted
battle,

in

the

sang congratulations in the Court

after a certain style.
at once,

of Raja

Ramchandarjee

This style was recognised

ever
in
since,

has been
in

and

is

to-day very

much

vogue

Benares.
Similarly to

Bharat Mut, this

Mut has
its

six
five

Raags,

and

each

Raag

has

got

own

Raagnis

and

eight

Putrs.

The
this.

Bharjas

of

Bharat Mut are retained in

The
each

last

two Muts are very much akin

in

to

other

the

seasons of
a

the year

when
here

they should be played or sung, also the arrange-

ment and

of the
there.

tunes, with

slight

variation

These Muts show an enormous modification They were brought to a in tunes and times. standard of one's reach and understanding.

The
six

sixteen thousand tunes

tunes),

were reduced
its

to

Raags (male
or six

and thirty or thirty-six

Raagnis (female tunes), each Raag having

five

own

Raagnis,

according to

its

individual

Mut, and eight Putrs (sons), and eight

(daughters-in-law),

Bharjas

and the three sixty Talas (times), were reduced

hundred
to

and

ninety-two

Talas.

19

Each Mut played the order which it recognised

;

tunes

in

certain

one Mut qualified a tune with a certain attribute with one or two notes, Teevar (sharp), or Komal (flat), and
for instance,

classed

it

among

the Raagnis, while another

Mut
the

with

similar alteration

ranked

it

among

Putrs, and so forth.

This difference of opinion caused an incessant

wrangle, never determining the class of the tune,
but raising an interminable
research in this branch.
In the reign of that great patron of Arts and
Sciences, the
field

for enquiry

and

Emperor Akbar,

the Court Musician

Taan-Sen, of universal fame, made a thorough, arduous and minute study, of long duration, of this most superb science, felt the superfluity of
the four Muts, and, after a scientifically lengthy
observation, determined the distinctive and main
qualifications

and characteristics of each melody, and revolutionised the system by deciding upon one Mut only, with its proper order of tunes. He dealt similarly with the Talas (times), and conthe
losing

centrated

ninety-two
the

Talas

into

twelve,

without
subtleties

significances,

beauties

and

of each

tune and

measure.
like that of

None but

a master

mind

Taan-

Sen could have brought about such a complete upheaval in so intricate an art.

He
(book

is

supposed to have written a Raag-mala

on music)
it

and ascribed

on a sound, systematic to his own name.

basis,

32


20

This tended to make music intensely popular

and progressive.
This is the Mut which has been followed more or less since, and has influenced most of the modern music also.
In
different

the south of India music

character.

is

entirely of a

The

instruments also differ

;

good deal from the north they have a system of their own. Instead of classifying the tunes according to Muts, and having so many Raags and Raagnis, they simply have seventy-two Ragas, otherwise scales and each scale has got a name which signifies the notes of which it is composed. They follow the early Narada system of music, and have their own history and traditions.
a
;

The
elaborate,

North

India

music

is

much

more

more

beautiful and finer of the two.

Sapt-Addhya.
Indian Music
is

comprised of Sapt-Addhya.

Sapt means seven, and Addhya means laws meaning "seven laws of music," which are as
follows
:

First. Sur-Addhya.

The

law

which
law

treats

of tones, including semi-tones, demi-semi-tones, etc.

Second.
treats

Raag-Addhya.
or

The

which

of

tunes

melodies.

Third.
of time.

Taal-Addhya.

The

law which treats


21

Fourth.
of musical

Ast-Addhya.

The

law which
etc.,

treats

instruments, such as the

Baansri,

Been, Sitar,

Taa-oos,
either

Nafeeree,
the

Sankh,

played

by

hand or mouth.

Fifth.

Nirt-Addhya.

The
The
in

law which

treats

of dancing.
Sixth.

Bhao-Addhya.

of actions and

movements

law which treats rhythm with singing

law

and

dancing.

Seventh.
treats

Arth-Addhya.

The

which

of comprehension
is
it

of tunes and
practically
is

times.

N.B.

"Bhao-Addhya"
"

linked

with

Nirt-Addhya"
songs and

for

the art of illustrating

the

the
of
"

dances with

movements

arms, and all the parts of the body. Arth-Addhya" may be acquired by a theoretical study of the science, and a constant
hearing of
it.

Sur-Addhya. (law of tone).

Chapter

II.

Music is formed of Surs (tones), and Talas (times). Each is dependent upon the other for a complete arrangement of a tune, sung or
Indian
played.

The Talas

(times),

are

executed
etc.

on

such

instruments as the Pakhavaj, Tubla,

The Surs
either

(notes),

form

tunes,

which

may

be played

or

sung, on

such instruments

as the Been, Taa-oos, etc.

The Surs (notes), are seven in number, and are named individually, as i, Kharaj; 2, Rikhab Maddhyam; Pancham Gandhar; 6, Dhaivat; 5, 3, 4,
:

7,

Nikhad

and collectively they are called the

;

"

Sargam "
as,

and

to

simplify

their

use in music,

they have abbreviated names to distinguish them,

such

Sa Re Ga Ma Pa Dha Ni. These Surs (notes), have enticing biographies,

human and supernatural in composition. They are human in having temperaments,

costumes and colour and,
flourish in seasons.
like

products of nature,

They are descended from Heavenly Bodies, and trace their lineage from above. Certain Surs are dominant at certain ages of mankind. They are produced from various parts
of the body.

23

The

whom

Surs occur they are taken.

in

certain

animals

from

Those Surs which are possessed with hot temperaments have the mysterious faculty of curing those afflicted with rheum, and such ailments, and vice versa, provided they are sung by high-minded and noble souls, and at the specified season of the year, and hour of the day, when they should be sung then alone the
;

desired effect will be obtained.

the prescribed law
is

Any

violation of

regarded as sacrilege.
are under the protection of

The seven notes

the seven Divinities

who

preside over them.

Interesting Chronicles of Surs (notes).

Kharaj Sa.
protecting Deity

This
and

Sur

is

under the

Agni,

like

Pancham does

not lend

itself to

Komal
It

(flat),

is

change into Teevar (sharp) or permanent. connected with the first heavens and the
but
is

planet called Kamar.

It

has a happy temperament.

it

In effect
Its

is

cold and moist.

is

complexion

pink.

And
Its

arrayed in most beautiful white garments

the seasons of the year.

and lovely ornaments.

seasons are
is

all

This note
Its

produced from the abdomen.

sound has been taken from the cry of the bird Ta-oos (peacock).

It

is

prevalent in the voice of

the

human
Raags

being of seventy years.

This tone

is

harmonious

in

all

the

and Raagnis.
It

has four Surats (semi-tones) or shades of

tones,

namely, Teevra,
dhuti.

Kamoodvati, Manda and

Chan-do

the

Rikhab Ra. This Sur protection of the God Brhama.

This tone changes
into

is

under
or

Teevar

(sharp)

Komal
It

(flat)

as

the

occasion

may
It

require.

is

connected

with

the

second

heavens

and the planet called Atarud.

temperament.
In effect
Its
it

has a happy

is

cold
is

and dry.
in

complexion
season
is is

pale green, arrayed

red costume, and

Its

beautifully

ornamented.

the hot

season.

This note
Its

produced from the heart.

cry of

sound has been taken from the

Papeeha.

the

bird

The note is prevalent in the voice human being when three score years old.
It is

of

harmonious

in the

tunes Deyce, Kaanhra,

etc.

etc.,

and quite unpleasant in Malkaus, Hindole,

It

has three Surats (shades of tone).

Dayadati, Ran-ja-ni

and Rag-tika.

Gandahr Ga.

This
flat

Sur

is

under

the protecting Divinity Sarasvati.

This changes into sharp or

as the occasion

may

require.

25
It
is

connected with the

third

heavens and

the planet called Zohra.

It

has a sad temperament.

it

In effect
Its

is

cold and moist.

is

complexion
season

orange, arrayed in crimson

garments.
Its
is

the hot weather.

This note
Its

is produced from the chest. sound has been taken from the cry of

the animal Goos-fund.

It is

prevalent in the voice of a

human being

aged

fifty.

It is etc. etc., It

pleasant in the tunes Kalangra, Khamaj, and quite unpleasant in Sarang, etc. has two Surats, Se-ve and Kro-de-he.

Maddhyam

Ma.

This

Sur

is

under the protection of the God Mahadeo. It changes into sharp and flat.
It
is

connected with the fourth heavens, and

the planet called Shums.

It

has a restless temperament.

it

In effect
Its

is

warm and
is

dry.

complexion
season
is

pale pink, arrayed in reddish

black garments and prettily ornamented.

Its
It is

the rainy season.

produced from the throat. sound has been taken from the cry of the bird Saras (crane).
Its
It is

prevalent in the voice of a

years.

human being

of

two score

26

This note
etc.,

is

pleasant in
in

Malkaos, Bhairaon,
etc.

and unpleasant
It

Kalyan,

has four Surats, Vajrika, Prasaarini, Preetee,

and Maarjani.

Pancham
the protection of the
It
is

Pa. This note Goddess Lakshmi.

fifth

is

under

permanent

like Sa.

It is

connected with the

heavens and the

planet called Mirreekh.

It

has a passionate temperament.

it

In effect
Its

is

warm and
is

dry.

complexion
season

red,

arrayed

in

yellow

garments.
Its
is is

the rainy weather.

This note
Its

produced from the mouth. sound has been taken from the cry of
Koyel.
prevalent
in

the

bird
It
is

the

voice

of

human

being of thirty years.

It

sounds pleasant
has
four

in the tunes Todi, Aa-sao-ri,

and quite unpleasant

It

in

Mal-kaus, Hin-dole,

etc.

Surats,

Ragta-Sandeypnee-

Alaapnee

Rshiti.

Dhaivat Dha.
the protection of the god
It
It

This
flat.

Sur

is

under

Ganesha.

changes into sharp and

is

connected with the sixth heavens

Mushtari.

and

the

planet called
It

has an equable temperament.

it

In effect

is

warm and

cold.

27 Its complexion is yellow, arrayed garments with lovely ornaments.

in vermillion

Its
It

season
is

is

the

cold weather.
palate.

produced from the

Its

sound has been taken from the neighing

note
is

of a

horse.

This

prevalent

in

the

voice

of a

human being

of twenty years.
etc.,

It is harmonious in Bilaval-Alaiya, inharmonious in Zeelaf-Jogiya, etc.

and

It

has

three

Surats,

Mandati,

Rohni, and

Rammya.

Ni-khad
tected

Ni.

This
the

Sur
flat

is

pro-

by Surya.
changeable into sharp and
it

It is

according

to the
It

tune in which
is

occurs.

connected with

seventh

heavens

and the planet called Zohol. It has a happy and passionate temperament.
it is cold and dry. complexion is dark, arrayed in black garments and most beautifully ornamented. Its season is the cold weather.

In effect

Its

It is

Its

produced from the nose. sound has been taken from the trumpeting
note
is

of an elephant.

This

prevalent

in

the

voice

of

human being
It is

of ten years.
etc.,

pleasant in Bi-hag, Puruj,

etc.

and quite

unpleasant in So-rath,
It

has two Surats, Ooggara and Ksho-bhi-ni.

28

Division of Notes.

To portray to our minds the celestial and most exquisite harmony which the " Shades of Tones" form in the Indian Music by a cut-anddried theory in black and white is palpably out of the question. There are tones, half-tones,
quarter-tones,
difference
in
is

and
these
so

one-eighth
sounds,

of
as

tones.

The
well
fine,

can

be
of
its

imagined,
that

subtle,

and so exquisitely
consciousness

before one
it

has

the

one

sound

has merged into the other of

own

accord, forming soft

modulations and unexpected

in

cadences.
beautiful
"

It

is

unutterably pure, high, classical,

and

sublime
"

expression.

These

Shades of Tones

correspond with the Surats

note,

previously mentioned.

There
is

is

a certain stage in each

which

neither Teevar (sharp) nor Komal (flat), but a sound between the two. This sound or note is
called the

Suddh Sur (note) and forms the central sound of the note. There are three notes in a higher key than the Suddh and three notes in a lower key than the Suddh, and these together form the seven tones in one tone. A tone which is one degree higher than the Suddh
is

called Teevar.
is

A
Suddh

tone which
is

two degrees higher than the

three degrees higher than the

called

Ta- Teevar.
is

A
Suddh

tone which
is

Tam-Teevar. A tone which is one degree lower than the Suddh is called Komal.
called

20

A
Suddh

tone which
is

is

two degrees lower than the

three degrees lower than the

called Ati-Komal.
is

A
Suddh
tone.

tone which
is

called Shikari. that divide the one

These are the seven tones

and fineness of these sounds imagined than written. To an untrained ear these delicate shades of tone are meaningless, and are hardly discernible. He is merely conscious of an exquisite flow of sounds, all blending into one another, making a gracefully
subtlety

The

may

better

be

delicate whole.

These seven notes correspond with the Surats already mentioned. These divisions of notes as well as the Surtis, as given in the olden texts, are too
complicated to understand, and one gets thoroughly puzzled. As a matter of fact there are twenty-

two Surats, or sounds, or tones

in the Indian Music,
is

in one octave, and the differences in these

merely that of a hairbreadth, hardly distinguishAnd yet to the foreign ear in a melody. importance it is these Surats which are of great in the formation of a tune and in retaining its They are distinct sounds individual character. and easily heard when a finished performer plays
able

or

sings

them slowly

in

a scale, striking

each

note successively.

Young

Asrekar, of Poona, has

made

out a very

clever table, facilitating their comprehension

and

use in tunes, discarding some of the classical terms and putting them in his own way, which is simpler and easily understood.

^
Asrekar's Table of Twenty-two Surats.
SURATS.
i.

THE TUNES
This occurs
re

IN

WHICH THEY OCCUR.

Chan-do-vati or Sa
Daya-vati or Ati
Ran-ja-ni or

in all the tunes.

tyie

2.

Komal
re re

Ditto
Ditto

tune Bhairaon,

etc. etc.

34-

Komal
Suddh
or

ditto ditto

Bhairaveen,
Bibhaas,
etc.

Rag-tika or
1 lo IRoud-reeJ

Ditto
re

5-

Teevar

Ditto Ditto Ditto Ditto Ditto

Ditto

-ditto

Yemen
Todec,

Kallian,
etc.
etc.

etc.

6.
73.

Kro-dhee or Ati Komal ga

Vaj-ri-ka or

ditto
ditto ditto
ditto

Komal ga

Bhairaveen,

Prasaarni or

Maddhya ga

Malkaus,

etc.
etc.

9to.
i.

Pree-tee or Teevar ga

Yemen

Kallian,
etc.

Maarjani Komal
Kshiti or

ma
ma ma

ditto ditto
-ditto

Bhairaveen,
Poorbee,
etc.

Maddhya ma

Ditto
Ditto Ditto Ditto

12. 1314.

Ragta or Teevra

Yemen
Poorya,

Kallian, etc.
etc.

Sandeepni or Teevar-tar
Alaapni or Suddh Pa

ditto
all

the the tunes

where Pa is
etc. etc.

use<

1516. 1718.

Mandati or Ati Komal dha

Rohini or Komal dha

Ditto
Ditto Ditto

the tune Bhairon,

ditto
ditto ditto ditto

Bhairaveen,

Rammya

or

Suddh dha

Bibhaas-Malkaus,

etc.

Oogra or Teevra dha

Ksho-bhi-ni or Ati

Ditto
ni

Yemen

Kallian,

etc.

19.

Komal
ni

Ditto

Gond Malaad,
Bhairaveen,

etc.

20. 21.

Teevra or Komal

Ditto
ni

ditto ditto
ditto

etc.

Koo-mood-vati or Maddhya

Ditto

Malkaus,

etc.

22.

Mandha
N.B.

or Teevra ni

Ditto

Yemen

Kallian, etc.

The

major scale
the

in

the European music would correspond with

notes

as

follows

Chandovajr

or

Sa,

Roudree or Re,

Preetee or Ga, Ragta or Ma, Alaapni or Pa, Oogra or Dha,

Mandha

or

Ni,

Saptaks (Octaves).

The seven
Re, Ga,
"

notes in the

Indian

Music, Sa,
the

Ma, Pa, Dha, Ni, otherwise called Sargam" form a Saptak (octave). There
Saptaks.

are

five

The
Saptak.

lowest

octave

is

called

Mandra-tar

The
The The
Saptak.

next lowest

is

called

Mandra.

notes of this Saptak are produced from

the abdomen.

medium octave is called Maddhyam The notes of this Saptak are produced
throat.

from the

The

next

highest

octave

is

called

Taar-

Saptak, and the notes of this octave are produced

from the head.

The

highest octave

is

called Taar-tar Saptak.

qualified

singer must produce

the

three

Saptaks, Mandra,

Maddhyam and Taar

with ease.

The

five

Saptaks and

even more

may be

played on the instrument " Been."

low notes to the termed Rohi, and descending from the high notes to the low notes Sa, Re, Ga, Ma, in the scale is called Arohi
the
is

The ascending from

notes
in

high

scale

Pa, Dha, Ni, Sa,

is

Rohi,
Arohi,

and

Sa, Ni, Dha, Pa,

Ma, Ra, Ge, Sa,

is

32

Murchana.
is that alluring and pleasing oddity Music which helps to establish the indefinable charm and the merging of tones which characterises the melodies so forcibly and so

Murchana

in the Indian

fully.

Murchana

is

the

harmonious

and

gentle

gliding of sounds, which occur while uniting one

note to the other consecutive one.

There are twenty one Murchanas in the three Saptaks (octaves), each Murchana comprised of the sounds created during the blending of one note into the other of the Rohi (ascending from the
lower notes to the
octave),

higher

in

the

scale

of one

and

the

Arohi

(descending

from

the

higher notes to the lower).

The following are the Murchanas of the Mandra Saptak This Murchana i, Ootra-Manda.
:

formed by starting from the note Sa in the Rohi scale and coming back to the note Sa in The following Murchanas are the Arohi scale. in their proper order, each having a successive
is

note for a starting point in the scale and coming

back to the same point

4,
7,

2,

Ranjani
;

3,

Ootra-tha
;

Suddh-kharja
Aph-rokta.

5,

Bajhri-karta

6,

Ason-kranta

Murchanas of the Maddhyam Saptak: 1, Klohna Sobray 2, Harnasuad Barkay 3, 4, 6, Saddhya 7, Gorpay. 5, Parkharka Murchanas of the Taar Saptak: 1, Pra
; ;

2,

Bassala;
;

3,

Sonkhy

4,

Partarka

5,

Roni

6,

Barkhata

7,

Onta.


33

Harmonious and Inharmonious Notes

Tune.
Baadi,

in

Sambaadi, Ambaadi and Bebaadi. These are the four expressions given to the notes which are harmonious or discordant in a tune. For instance
:

i.

Baadi.
is

This term

is

applied to that note

to

which
note
"

dominant and gives colour

a tune,

like the note "

Dha"

in the

Ma" in the Gandhar (flat Ga)

2.

Raag Bhairon, or the Raag Malkaus, or Komal

the Raagni

in

(female

tune)

Todee.

Sambaadi
to

is

the

expression

which
like

is

applied to that note which gives additional brilliancy

a tune, and

helps

the

Baadi

the

Sur

"

Dha" in Todee. This note is sub-dominant. Ambaadi is the expression applied to 3.

Bebaadi
like
is

those notes which are not discordant in a tune.

4.

the expression applied to note

or notes which are

completely discordant

in

tune

Teevar
Todee.

"

Ma"

in

Malkaus, or

Teevar

"Ga"

in

Taans.

A
when
so

Taan
a tune

is is

a variation

or run which occurs

played or sung.

There are countsing

less varieties of executing Taans, and these are

numerous

that

a finished performer can

or play a tune for hours with the introduction of Taans before he has exhausted his stock, and yet not repeat the same

Taan

twice.


34

This

is

that extraordinary part of the Indian

Music when a musician has the unique opportunity of asserting his knowledge and individuality during the course of a performance by harmonious combinations of notes into Taans on the spur of the moment. These Taans are better illustrated sung or
and advantage
played.

To convey any

definite
is

idea

of

what
they

they really mean, in writing,

an impossibility.

The
form
region
are

inflections, modulations, trills, etc.,

so

numberless and
one
is

so inspiring that
into an enchanted

unconsciously
full
I I

uplifted

of mysterious charms and beauties.

As
Taans.
kind of
forty

have
shall

said, there

are

various classes of
to

now endeavour

demonstrate one

diversified
sa,

Taan which produces Taans from

re,

five

thousand and

the seven notes of

ni.

the octave,
It

ga, to

ma, pa, dha,

may
It

help

convey

to

the readers the

extent of the grandeur

possess.

and beauties these tunes

impossible, at
first

may seem

glance,

that such a small

to

number

of notes should be able

produce varied strains of such magnitude, but

study will show

a close

how

skilfully

what

knowledge it was manipulated ancient and great masters of music

:

and with by the

One

note will give you one Taan only

notes
varieties
notes),
will
:

sa.

Two
different

Taans Rohi (ascending from low

give
sa,
re.

you

two

of
to

the

high

Arohi
2

(descending
re,
sa.

from the high to the low notes),

35

In
different
3

three

notes,
:

sa,

re, re,

ga,

you
2

get
sa,
;

six

Taans
;

ga,

i sa,
re, ga,

ga
;

sa, ga, re sa, re.

re,

ga and

sa

ga, re, sa

Four notes produce twenty-four Taans, thus

1 sa,
ma, re
6
sa,
sa,

re, ga,
;

ma;
sa,

2 sa,
re,
;

re,

ma, ga;
5

3 sa,
ma,
;

ga,

ga, 7

ma
ga
;

ma, ga, re
9

ma;
sa,

11

12

sa,

re,

ga

re,

ga,

ma, sa
10

8 re,
13

ga,

re,

ma,
ga,

sa,

re, sa, ga,

ma;

re,

ma, ga, sa

re, sa,

ma, ga;
15
sa,

ma,
16
re,

re; 14
sa,
;

ma, sa 21 ma,
ga,

re,
;

sa, re,

ga

17 ga, 19 ma, ga, sa 22 ma, ga, sa 24 ma, ga,

ma,
re,

sa

ma, re;

re,
;

re,

re,

ma; 18 ma; ga, 20 ma, ga, re ga 23 ma,

ga, sa, re,
sa,

ga,

sa,

sa,

re.

Five notes have the capability of creating one

hundred and twenty Taans. If the arrangement of the four notes, permitting twenty-four Taans above, is followed carefully, it will be seen that five notes must needs necessarily furnish one hundred and twenty
Taans.
It is

clear that four notes produce twentyIt

is

four Taans.
only.

in itself a

group of four notes

Five notes, therefore, have five groupings

:

of four notes, thus

Sa, re, ga, ma, pa

are the five notes, and in

:

these the five groups of four notes are

ga,

ma

ma,

sa

re,
;

re, ge,

ma, pa
5

pa,

sa,

re

ga,

ma, pa, sa
;

pa,

sa, re,

ga

place the

remaining note at the beginning of a Taan.

Each

of these groups of four notes will produce twentyC2


36

four Taans,

Taans, for

making example
the

in all
:

one hundred and twenty

of

Sa

(at

beginning

Taan)
ma, pa.

and

the

remaining four notes are

re, ga,

These four notes will supply twenty-four Taans according to explanation above, thus
i

sa,

re,

ga,

ma, pa
these

sa,

re,
re,

ga, pa,

ma
of

3
etc.,

sa,
etc.

ma, pa, ga, re;

sa,
are

ma, ga, pa;

When
and
a

twenty-four

Taans

the

hundred

twenty

exhausted,

placing the consecutive note re at the

by commencestart
this
:

ment of
ga,

Taan, making a scale

;

like

re,

ma, pa, sa
ga,
;

re at the beginning,
pa,
:

and the four

twenty-four
;

notes,

ma,

sa,

will

yield

Taans
sa,

example

re, ga,

ma, pa, sa
;

re,

ga, ma,
;

pa

re, ga, pa,

ma, sa

re, ga, pa, sa,

Then
beginning
notes pa,
similarly

place the
of
sa,

following
the

note

ma etc. ma at the
four

Taan, and
will give

remaining
pa,

re, ga,

twenty-four Taans,

start
re,

the
ga,

Taans with

and the four

twenty-four

notes

sa,

ma
re,

will

contain

Taans, completing the hundred and twenty Taans.

Six notes,
multiply
the
sa,

ga,

ma, pa, dha,

at

once

hundred and twenty Taans six times, marking an enormous increase of seven hundred and twenty Taans.
of

number

one

The same method

of these

follows the

building up
their

Taans

all

throughout, facilitating

comprehension.

The

scale of these
five

six notes

have six varied

groupings of
note which

notes each, with the one extra

at

falls

the beginning of each

Taan

g
37

successively
2
re,

as

follows

ga, ma, pa, 4 ma, pa, dha, 6 dha, ga,

sa, re,

dha,
re;

i sa, re, 3 ga, ma,

5

ga,

ma, pa
re,

pa, dha, sa;

sa,

pa,
form

dha, sa,

ga;

five

Each of these groups of notes form one hundred and twenty Taans.
ma.

Similarly,

seven

notes

five

thousand
the last

and forty

different

Taans,

multiplying

number
seven
Taans.

of

seven

times,

hundred and twenty Taans making five thousand and forty

sa, re, ga,

In these seven notes,

ni,
1

ma, pa, dha,

:

there are seven different groups of six notes

sa, 3 re, ga,

i
;

ma, pa, dha;

,

sa

re, ga,
;

ma, pa, dhi,

a
;

ma
5

P a dha,
,

ni,

ni,

sa, re

pa, dha, ni, sa, re,

ma, pa, dha, 6 dha, ga

4
:

ni,

sa,

re, ga,

ma.
in

With
the

the one note extra coming

at the

beginning of the scale of these six notes

order
of the
octave,

successively,

each

of these groups of six notes yield seven

hundred and twenty Taans, and seven hundred and twenty times multiplied by seven is five thousand and
forty

Taans.
skeleton of a
is

The
first,

Raag or Raagni

is

sung
the

then a line

taken and repeated

with

introduction of these

Taans and other kinds of Taans which I have not mentioned, but always bearing in mind the scale of the Raag and Raagni
that
is

sung.
all

For
scales

the Raags and Raagnis have their

notes.

own
are
that

of

variegated
to

These Taans
is

adjusted
particular

the

scale
is

which

true

for

Raag which

sung or played


38

Raag Addhya (Law of Tunes)

Chapter

III.

Classification of Tunes.

The order
classified

in

which the Hanuman Mut has

is

the tunes

as follows

There are six great Raags (male tunes). Each Raag has got its own five Raagnis (female tunes) and eight Putrs (sons) and eight Bhaarjas (daughters-in-law) making in all one hundred and thirty-two tunes.

The important tunes

thirty

are

the six Raags and

in number, minor tunes, though some of these are as beautiful and stirring in conception.

Raagnis, the

rest,

ninety-six

are

The Raags
musical energy.

display the most exalted form of

They

highly classical in

heavy and sentiment and permeated by a

are
rich,
full,

religio-philosophic vein.

They touch

the

deepest

emotional chords of the soul and transport one to

a nobler and loftier realm.

The Raags have

of
original
purity,

still

retained

their

notes

notwithstanding

the

malices

of time and

crudities of

man

nothing seems to

have disturbed or affected

tion

their

godly

concep-

and sublimity of expression.

39
are very difficult to perform, and none most profound students or efficient masters comprehend the varied and numerous technicalities which constitute their completeness, and venture to perform them.

They
the

but

The Raagnis
lighter nature,

are perhaps of a comparatively

deep

in feeling,

though some are equally rich and and quite as difficult to perform.
tunes

These
scales.

classical

vary

in

the

number

of

notes they possess in the

octave

forming their

In some tunes all the seven These are termed Sampuran.

notes

occur.

In others, only six notes of the octave form

the
scale
;

and
five

these are called Khadao.

Others

have only

or less notes of the octave which

;

complete their scale

these are termed

Odhao.

Variegated Methods of Singing Tunes.

There are various methods in which a tune be sung or played in Indian Music.

may

Dhurpad.
with
masterful
of

Dhurpad
for

is

that

style

of singing which comprises dwelling upon each note

control

some moments.

Dhurpad
ancient.

any

classical tune
is

may be
do
it.

sung, proIt is

vided the performer

It is a

able to

very

manly and heavy way

all

of singing,

and

is

the most difficult of

methods.

40

The
chapter
subtle
is

"division

of

notes"

in

the

previous
fine

has

shown
from
the

how

extremely

and

the space of sound allowed to differentiate

one

note

the

other.

The

slightest

vibration in

voice tends to produce a Surti

Each note, therefore, should be struck in its purity and richness of sound, and So that the dwelt upon clearly and distinctly. power of retention, with correct intonation, and with absolute control, is the first step of most
(shade of tone).
vital

importance
it

to
is

be

learnt

in

singing

Dhurpad, and

extremely

difficult.

When
are

the

notes of a
that

Dhurpad

of any

Raag

struck
it

which

and precision demands, a strange tremor overpowers

with
accuracy
is

one, so that one

conscious of nothing but the

fill

divine and rich

sounds that
a

the

atmosphere,
note
purity
in
is

and hold one

in

magic
effect,

spell.

Each

sung sound with

clearly

and

distinctly in its

own

of
its

magical

and

retained

own

glory, as
will

long as

the

former

allow.

Its

historical

or a religious invariably

power of the pertheme is generally a It is never sung one.

Bilampat
or

quickly, but
lai,
i.e.,

in

Muddh

first

or second speed.*

N.B.

There

are three speeds in which a song may be sung or played. ist speed. Bilampat (slow) 2nd speed. Muddh (of double quickness) yd speed. Dhurat (of tremendous rapidity).

41

parts.

Dhurpad singing The first part

is is

divided into four

called Astaai.

equal

The openAll
in

ing notes of a tune are

shown
called

in this part.

The second
notes that occur
portion.

part
in

is

Antra.
are

the
this

the

tune

sung

is

The treatment of the higher notes of the tune shown in the third part called A-bhog. The last part is called Sanchari. It was
to

against the royal etiquette of the former days

sing any other class of tunes excepting

in the

Dhurpad
called
difficult

Durbar.

Dhurpad singing
Baani.
It
is

is

also

the

Khandari

the

most
is

mode

of execution and one which

restricted to

a very few musical families in India.

Khayal.
tune

Khayal of any

classical

may

be sung.

Unlike Dhurpad, each

of

note

merges or melts into the other

in quick succession.

Wave
float

after
in

wave
air.

delicious

ethereal

melodies

the

Floods of scales succeed one

after

the

other,

forming

pleasing

combinations,

and the effect is like that of a quick rise and of heavenly strains. Trills, variations, tremors, and all such productions of the voice have full Khayal singing was play in this kind of singing. invented by Sultan Hussain Sherki in the fifteenth
fall

century, and brought to a state of perfection by

Sadarang, the Durbar singer of

of Delhi.

Mohammed Shah
sung

Tappa.

These were originally

in

by the camel and mule drivers

the Punjab, in

42

which
Ranjhi.

they

related

the

story

of

Heera

and

Schori, the famous singer in the court of

Asaf-Ud-dowlah, the King of Oudh, put new life and soul into it, and converted the simple ditty
of the desert into a cultivated form of singing.

Hori.
and the Gopis.

These

beautiful

songs conof Love,

is

tain the love stories of Krishna, the

God

The method

of

singing them

most

fascinating.

Thumri.
pretty
little

These
are
in
all

are

extremely
popular

songs

and

very
India.

and
are

delightful,

sung

by

They

generally composed in
all

Brij-bhasha, and

contain

the characteristic events.

Alaap.
of songs

This

is

to sing the

melody

by inserting such expressions as Aaar,

etc.,

Naa, Te, Ray, Re, Nom, Ta,

real

instead of the

words of the song. *&

of the

Sargam. This is to sing the tune song by the notes of the song instead of the words, such as sa, re, ga, ma, etc.

Tarwat.
of the

This

is

to

sing

the

tune

song by inserting the expressions of the Tubla (the drum-like instrument to keep time), and not the words of the song, such as Dhirkat,
Tirkat, Dar, Dhina, etc.

Bhajan.

These

are

pathetic

re-

ligious songs of appealing nature

sung by Jogees

43

on the strange instrument called Ek-tara, and also by devotees in the temples. Apart from these methods there are also
(ascetics)

other

occasions.

ways of The

singing
varied

songs
parts of

at

different

the

country

have their own individual characteristic singing like Lach-chi in Punjab or Maand sung in Rajputana. Maand are evening tunes sung by a maiden who goes to fetch water from a well or by a mother rocking a baby to sleep. They are very beautiful. Garbas are gay, joyous
tunes

sung

in

Gujerat and

Kathiawar on some

festive occasions

by

They

move in a circular form rhythmic movements bending their

and gracefully beating
their

group of young maidens. with slow

lithe

figures

hands

in

rhythm.

Expressions denoting Information about Raags and Raagnis.

The following
Raagnis.

are certain musical expressions

used in giving information about the Raags and

Maarg
to

is

the

expression
that

applied

those

Raags
in

and
all

Raagnis
parts

are

sung

exactly
the

alike

of the

country but
so
all,

mode

of

execution

should

be

difficult

so as not to be comprehensible to

like

the
is

Khandari-Bani
celestial.

or

Dhurpad

singing.

Maarg
used

Deysi
those tunes

is

the

expression

for

which

are

sung

differently

every-

44

where,
be
so

but
facile
is

the

method
as
to

of

its

singing

should

so

be

understood

by

all.

Deysi

terrestrial.

Suddh
those tunes which
original

is

the

expression
the

given
notes

to

have

retained

of

purity

or man, like the six

untempered by any freak of time Raags (male tunes) and a

few important Raagnis (female tunes).

Salink are those tunes which have These are many. semblance of other tunes.

Sanke-Run
are

are those

tunes which

either created out of the combination of tunes, or five or six Raagnis.

Suddh

two These are

numerous.

Maha-Salink

are

those which

are

formed from Salink and Sanke-Run. Some are of a remarkably no end of these.
beautiful

There are

and

classical

nature.

Qualifications

of Musicians.

In

the

ancient days

there

were

institutions

where a student acquired knowledge, and attained a certain degree that qualified him in his profession, and gave him a certain
of music

standing

and
a

position
veritable

in

the

musical
of

world.
that

There

is

vocabulary

titles,

45

marked the
I

different grades to

which he belonged.

shall

quote a few important ones.

Naik
conferred on he
science,

was
only

the
a

highest

degree

who was

past master in the

all

who
was

not

rendered

the

Raags

and Raagnis
ness, but
great.

in their original purity

and correct-

also able to produce pupils equally

Beyjoo and Gopal were Naiks.

Gandharp was
an
efficient

the degree given to

performer
a

of

Maarg

and

Deysi.

Taan Sen was

Gandharp.
the degree given to him

Gooni was

who was

able

to

execute Deysi well.

Pandit

was

he

who

learnt

the

science to perfection in theory but not in practice.

name given to him who had such an extraordinary command

the

Oottam

was

over his singing that he could sing without any

accompaniment, and

not

be

dependent
(time)

way on
(note).

his instruments

for Tal

in any and Sur

This
this

is

quite extraordinary in the Indian

Music, and only an efficient student could aspire

to
attain

rank.

Maddhyam
Addhyam
dependent upon
his

was one who was more

or less dependent upon his accompaniment.

was he who was

for

entirely
singing.

accompaniment


46

Qualities of Voice.

The
thirteen

singer
qualities

had
in

to
his

be
voice

distinguished
:

with

affect all

Mirisht. That who heard it.

the

voice

should

Mudhr. That
sweet and entertaining.

the voice should be

Jhapal.
neither

That
nor

the

voice

should
full

be

very

loud

very low, but

should

and

rich,

and that while singing he

be

able to retain the breath for a long time and not

suffer

from short breath.

Taras-than.

That the three Saptaks

facility

should be executed with equal

and

ease.

Sakha-ba. That the voice should be possessed of the power to create laughter in
the assembly.

Kaaran.
feeling

That

the voice should be

possessed of such pathos so as to produce deep

and

tears.

Komal.
soft

That

the voice should be

and

stirring.

Sara-dak.

That
the

the

voice

should

be big and heard distinctly at a distance.

Ghan. That
clear without a

voice

should be

tremor.


47

Sang-da.
(variations)

To

execute

all

the Taans

with great ease.

Gaad. That the command should be so entire so as to be able to produce loud and soft at will.
Salchan.
length

To

be

able

to

sing

at

without break.

of

Parjar. That the singer should be prepossessing appearance and noble dis-

position.

Defects of Musicians.
There were several objectionable mannerisms which disqualified a singer. A long list of them is given in the sacred books. The following are a few
:

Sandasht.
teeth.

To

sing

with

closed

Bhut.

To sing with Sankat. To sing without confidence. with a tremor Kanpat. To

fear.

start

in

the voice.

Karaagi.

To sing with
start

mouth wide

open.

To Kagay. To
Kapal.

sing with flourishes.

with

commotion

and noise.

48

Karaba.
a

To

crane

the

neck

like

camel.

Jumbuk. To
Parsari.
with the hands.

shake and whirl the

head and neck while singing.

To

make

frantic

gestures

Nameelak.
closed

To
tight.

sing

with

eyes

Abagpat.
all

To
To

sing with the words

in the throat

jumbled up together, and rolling

to

so as

be incomprehensible.

Stekaree.

sing by taking sharp

quick breaths.

Saan-nasik.
twang.

To

sing with

a nasal

Rava-chat.

That

the voice should

be shaky.

disturbed

Asethat. That the voice should be and disquiet.

Nasar.
closed

That

the voice

should be

and

tight.

Kagay.
like

That That

the voice

should

be

the crowing of a crow.

Karish.
thin

the voice

should be

and

flat.

Bhikan.

That

the voice should re-

semble the braying of a donkey.

49

An

efficient

singer

was supposed
;

to

follow
also

these and several other injunctions

carefully instructed to impress

he was

upon the hearers

with the " sum" of the song.

"

Sum"
where

is

the important beat or juncture of a the

attention
of the

tune,

all

hearers
it

is

deeply concentrated.
climax of the song.

In other

words

is

the

The mark the

singer

should

also

discriminate

and

occasion by

singing opportune songs.

He

should have a good memory, and should be

something of a poet. The musician of olden days must have been an ideal personage He was regulated by all the laws so appropriately and becomingly laid down
!

for a

master of such an agreeable

is

art.

The modern musician

is

apparently void of

these pleasing qualifications, his study in etiquette

apparently neglected and ignored, and that

is

the reason why modern singing very

in grimaces, painful gestures

often results

and most disagreeable

sounds.

Raags and Raagnis.

All the Raags, Raagnis, Putras and

Bharjas

and other tunes have names

to

distinguish
is

from each other, so that there

them no confusion.
after
after

Some
tribes,

are

named
after

some

some the composers, some

after

Deities,

the

the

countries, etc.

They have

also appointed seasons

of the year and hour of the day

when they should

So

be sung or played.
strictly.
It

Musicians abide by this law

that
it

may

be thought, perhaps,

is

merely a matter of imagination or the habit of centuries that a cultivated ear cannot tolerate a

song out of season or time.

A
morning
beauty.

Behag
it

is

full

of

sweet
at

meanings
night.

and
its

appealing sentiments
is

when sung
an

In the

entirely discordant

and loses

Similarly,

Aa-saori
stirs
it

sung
its

in

the

early hours of the

day

the

depths of your

highest thoughts, at night

falls
flat.

loses

charm and

This

is

neither

habit

nor imagination, but

a deeper mystery pervades the arrangement. There are certain notes that are characterised by hot temperaments. These are dominant in the tunes to be played or sung in the hot months.

Then
with
in

there
cold

are

other notes that are attributed

temperaments.

These are important

season.

the

tunes to be played in the cold

of olden of

The law-makers
and
profound
the

days were ardent

nature.
of

students

They unby long

har-

ravelled

hidden
certain

secrets
that

sound

study, and

made sure

certain sounds

monised

with

notes in certain seasons,

in

and adjusted the notes

accordance with nature.

The twenty-four hours

for three hours. six o'clock to nine

of

a night and day

are divided into eight parts, and each part lasts

The

first

morning part

is

from

o'clock.

The

tunes that are


5i

and the notes re, and Bhairaon and all its and Ramkali are sung at this time. Re, ma, dha are komal. Nine to twelve is the second morning part, and all the notes that occur in the tunes to be
slow,

played or sung dreamy and pure, dha are komal (flat). species which are eight
to

be

during these hours are

sung and played

which are
it

in these

hours are komal

all its

like

Aa-saori, Bhairaveen and Todee, and

six.

kind

The komal notes now change

is

into Teevar.
is

At noon exactly Sarang

played

a brilliant bright melody.

All the notes in

ni

the
in

Rohi are Teevar, and

the Arohi.

ma and
re,

are komal

Sarang
viz.,

is

Odhao, and
ma, pa,
Ga,
re,

has
ni.

five

notes in the scale,

sa,

From twelve
asri,

to

three Bheempalaasi, Dhana-

Dhaani,
tunes
in to

etc.,

are played.

ma and
da,

ni in

these

are

komal, and
tunes,

that

were
and

komal Three
is

the
six

morning
p.m.,

become

Teevar.

Poorvi,

Purya-dhanasri
Shri

Maarwa

are

played in these hours.

Ga,
re,

Raag
ni,

played at about six o'clock.

ma and

in these tunes

become Teevar, and

dha become

komal.

From six to nine all the Yemen Kallian and all the

notes become Teevar.

Kallian tunes, which

are numerous, are played in these hours.

From

nine to twelve p.m. are played Bihaag,

etc.

Sankra, Deyce,

They

are

all in

Teevar

notes.

At about midnight, Bagesari, Behar, Adaana and such are played, and ga, ma, and ni again become komal in these tunes.
D2

52

From twelve
including
the

to

three

a.m.,

all

kinds

of

Kaanhras, which are eighteen in number, are played

famous Durbari, excepting Sugrai Kaanhra, which is played in the morning. Malkaus The notes re and is also played after midnight.
pa do not occur in these tunes.
komal.
All the rest are

From

three to six a.m. are played Hindole

etc.

Sohni Paraj,
is

The komal notes

it

change into Teevar, and Odhao.

Malkaus becomes Hindole, which

of
re

Then by adding
Sohni, which
is
it

komal, the

tune

becomes
and

Shadhao, and then by

adding pa to the scale

Lalit are also

becomes

Paraj.

Basant

played in these hours.

Both the

Teevar and the Komal

ma

occur in these tunes.

When

the Raags are sung in the proper season

and time and with perfect knowledge of the science, an absolute sense of calm and inner satisfaction
is

derived, hardly to be expressed.

In such a state of perfection the Raags are supposed to be possessed of supernatural powers. They have chronicles of their births, which point out the mysterious sources from which they

have originated.
legends

They have
their

a series of interesting
histories.

recording

life

They
various
of

are benefactors of humanity by

curing
the

bodily ailments.

They charm

elements

nature, and invoke fire and water, in short, perform

miracles.

The

idea

of

personifying

all

the
in

forces

of

nature seems to be quite

common

Hinduism.

53

the Raags and Raagnis are impersonated. There are quatrains and verses, illustrating the form, colour, symbolism and significances which mark each tune. The Raags and Raagnis have been favourite themes with old Indian artists, who have painted them over and over again,

All

but a fine illustration

is

rarely

seen.

54

Chronicles of Raags and Raagnis.

Mahadeo, the God of Music, is distinguished by having five heads, each of the four heads
being turned towards the four quarters
of the
globe, north, south, east and west, while the fifth

head

is

turned towards the heavens.

five heads, the five great

And from

Raags or demigods Bhairon, Hindole, Deepak, Shri and Megh originate. The sixth Raag Malkaus is come out of Parvati, the wife of Mahadeo. Brhama created the thirty Raagnis or nymphs, and each Raag or demi-god was presented with five Raagnis of
each of the

sympathetic strains,
tenderest care.

whom

he preserved with the

of

Saraswati, the Goddess of Music

and

Learning, and the wife

graceful
the

Brhama,
legacy

left

an
the

exquisitely

and
of

poetic

to

world
India,
to

in

shape

the

Veena, the

most

cherished and valued of musical instruments in

and the demi-god Narada was

it.

appointed

practise
"

From Nada {sound) arose Surti. From Surti came Swara ((one). And from Swara was formed Raga (scale) And from Raga was created Gita (tune)
So
that

the

soul

of Gita

is

sound."
different

Raag
excite

means
is

passions,

and
of

tunes
as

different

emotions and
significant

feelings,

such
Nut,

Bhairaveen, valour
;

Beauty
Shri,

of

Maarwa, of
;

fear

of

grandeur
;

Malkaus, of passion

Aa-saori, of

renunciation

Bihaag, of joy and brightness.

-,---

<%

Wft;

1.

^^-11--

I.

RAAG-BHAIRAON

55

Raag Bhairaon. This Raag originfrom that head of Mahadeo which is turned southwards. This tune, along with its Raagnis, Putras and Bharjas, may be played in
ates

the months of September and October.

for
It is

The time
to

its

performance
i.e.,

is

early
all

dawn
the

sunrise.

sumpooran,

has
the

seven notes of
ga,

the octave for

its scale.

Sa, re, (komal)

ma,
In

pa, dha. (komal)

ni in

Rohi and Arohi.

form

it is like Mahadeo, having five heads, four heads turned towards the four directions, north,

south,

east

and

west, while

the

fifth
is

head

is

turned towards the heavens.

as

He
has

represented

a Jogi Sanyasi

(one

who

retired

from

the world).
his
tresses,

His body is besmeared with ashes, gray with dust, are gathered on the
;

two Gangs (rivulets) oose out These knot, and flow on either side. are the two sacred rivers in India, the Ganga and the Jumna. A jewelled Kangan (bracelet) is fastened on his wrist, and a crescent in the centre of the head. The third eye of wisdom is located between the eyebrows. Two black venomous serpents coil subdued round his arms, on the forehead is the sacred mark of religion. He is seated on a skin of a tiger in the heavens, encircled by glittering clouds, holding a spike in Around one hand, and a rosary in the other.
top of the head
of
his

his

throat

is

chaplet

of eight

human

skulls,

his

conquered enemies. Bhairaon has five Raagnis Berari, Madhmaad, Bhairaveen, Sindhavi and Bengal. The Raagnis
:

50

are

represented as ideal graces of

fair

womanhood,
that
it

most divinely

and of
shed

incomparable beauty.
is

The

radiance

they

so

great

shames the Sun, who hides his face behind the clouds, and the Moon withdraws in modest retirement on seeing their sweet lustre.

'V

/ -jj

'

<4Ss2d

%
>
:-C;
'
!

,j

II.

RAAGNI-BHAIRAVEEN.

57

Bhairaveen
exquisitely proportioned.

is

sylph-like and most All the tender freshof

still

ness and bloom of shy young maidenhood fourteen years is her birthright. Her hair,

humid with the Shanan

(sacred bath),

is

thrown

back in a heavy dark mass. From beneath her long drooping eyelashes there escapes an ineffable
in

beautiful

giving a calm serenity to the prohle. Her slim hands are clasped reverence. Her whole attitude is bent
light,

in

breathing poem of devotion at the altar of " Linga." She has taken out her garland of heavily scented golden Champa (flowers) and consecrated it to the gods.

submission

of

religious

fervour a

Her scheme of colour of costume and jewels red and white. Her dainty person is bejewelled and enveloped in an opalescent gossamer of fairy imagination. The temple of Mahadeo
is

is

on the summit of a hill encircled by a Flowering blooms of the Lotus scent the atmosphere. Two young maidens are engaged in playing and singing on the Majera (musical
built
fort.

Pearly dawn is creeping invisibly, bathing the realm with a delicate and roseate light. This is the enchanted hour when the tune of Bhairaveen is sung.
bells).

The
ga
(komal),

tune

is

Sampooran.
(komal),
in

Sa,

re

(komal),
pa,

(komal),
ni
in

ma

ma
the

(teevar),

dha
scale

(komal),

Rohi.

The

changes
is

the Arohi, and only one

ma

(teevar)

retained.

N.B.

The

Tumboora (musical instrument) in the hands of the singing girl in the painting is a mistake on the part of the artist. It should be a Majera.

IV.

RAAGNl

AA-SAO-R1.

59

Aa-sao-ri
It
is

has an ascetic character.

represented as a female Jogi (one

the

who

has

renounced
inside

world)

a fort surrounded

a huge Sandal tree. perfumed foliage bent

protection,

promontory by water and beneath Its delicate, massive and

seated on a

towards
her

her

in

tender

and

shading

from

the

morning

sun's

warm
is

rays.

ance
of a

morning.
in

The hour for its performHer dawning womanhood is

salmon
coloured

arrayed
lines

the

simple
the

garb
subtle

Jogan,

defining

beautiful

and

of her figure. Her raven hair is massed on the top of the head. On the white brow gleams the sacred mark of religion in camphor. Her slumbrous eyes are heavy and languorous with the power of her own music. Her sweet

on blowing the soul-stirring notes of the Poongi (musical instrument). Her personality glows with music. The serpents and peacocks are attracted beyond control. They creep and crawl towards her fascinating being amazed and entranced, wholly worshipping her.
is

mouth

intent

N.B.

The

Sandal wood tree has an

affinity

to

serpents,

so has the flute Poongi.

6o

Raag Malkaus.
originated from
Parvati,

This
wife
of

Raag

has

the

Mahadeo.

The tune, with its Raagnis, Putrs and Bharjas, may be sung in January and February, which are The hour the months congenial to these tunes.
in
It
is

which it should be performed is past midnight. Odhao, and has sa, ga, ma and ni notes in
scale.

the

All
as

the a

notes

are

komal.
of

He
the

is

represented

glorified

image

rich,

deep, passionate and

in blue, his

mystical melody.

Dressed
in

dreamy eyes are

a

veiled with emotion.

He

is

holding

severed

human head

one

hand and a naked sword

maidens
either
royalty).

in the other.

He

stands

entranced, listening to the delicious music by the

in the undefined distance.

Towering on
(insignia

side

are

the

" Morechals"

of

kali,

Malkaus has five Raagnis Lambhavati, GunTodi, Gouri and Koukab. The Raagnis are
bevies
of
beauties,

fair

each lovelier than

life

the
in

other,

dreaming away the warm hours of

pleasant and sweet musings.

cross
their

No

cares or troubles

serene

path

no clouds disturb the

eternal

gay sunshine of

their lives.

N.B.

The

idea of conquering enemies is a favourite one in the Indian Music. The Raags were qualified as brave undaunted warriors overcoming their formidable

opponents.

V.

RAAG

MALKAUS

VI.

RAAGNI TODI

6i

Todi is represented as a young maiden of ravishing fairness. Dressed in white and gold, with the sacred mark of camphor and saffron on her brow, she stands on a hilltop in
the jungle, wholly absorbed in playing the Been.

motion, causing the young crimson to mount the alabaster of her cheek. Her dark depths of eyes catch the gold of the rising morning sun the time for

Her pulses

beat in rhythmical whirl of

performing this tune.

precincts

The wild deer venture within in meek submission and

the

sacred

adoration,

completely fascinated and subdued by so glorious

a picture and so thrilling a music.

N.B.

Certain
todi
is

tunes attract certain animals in nature. The always associated with the deer, whom it

subjugates.

62

Raag Hindole. This Raag has sprung from that mouth of Mahadeo which is turned towards the north. The months in which
it

should be played are March and April.

for
its

The
five

hour
far

performance
It
is

is

when
scale

the night has

advanced.

Odhao, and has only

in

notes of the octaves

dha,
are
ni.

the

sa,

ga,

ma,
ni,

The
it

latter

four notes, ga, ma, dha, the

teevar (sharp)
In form

in

Rohi and Arohi.

is like

Krishna, the

God
his

of Love,

seated

on

Hindola (cradle) playing the Bansri

(musical instrument), surrounded

by

Gopees,
depths
love

who
their

are

swinging him
eyes
are
as

in

responsive motion of

songs and his Bansri.

brimful
of

The

liquid

of

his

mirth

and

locks

dark

the

forehead.

musk are braided Rainbow coloured

away

from
of

draperies

gossamer airiness encircle the graceful forms of the young maidens, kissing the blooming cheeks and falling lightly over their heads. Jewels
shed their
loveliness
brilliant lustre,

enhancing the chiselled

of face

and

figure.

Hindole has

five

Raagnis

Bilawal,
The

Ramkali,

Lalit,

Deo-sakh and

Raagnis live in a nest of sweet thoughts. Their years of musical life roll smoothly by.
Patmanjari.

swansdown

in their soft

i i

mi
<g

a
-

._

.-

.,.

'

."'''-'^^ ::S3S03BffiTOraKJ

VII.

RAAG

HINDOLE.

'

l-'f

rf&P

';'"

it'.

'

'

6a

'-

/III.

RAAGN!

LALIT.

63

Lalit

is

represented
feminine

as

dainty

specimen

of

the
is

finest

aristocracy.

Her
fire

fair

skin
it.

like

alabaster, with

delicate

behind
rich

Her

beautiful

head

poised on
of jewels

a
in

graceful

neck

defies

the

pressure

profusion on arms, throat, ears, head and

feet.

Golden
float

gauzes

of

quivering
exquisite
line.

tints

and

richness
disclosing
tresses

round

her
a

proportions,

each

perfect
in

The

perfumed
behind.

are

thrown

dense
of

cloud

The mysterious expression

eyes
is

the large limpid

partly

revealed

in

the

shadow
them.

of the

long, dark
reclines

silken

lashes which veil

She

with
divan,

ease

on

the

flower

besprinkled

jewelled

subjugating the

senses

by her

poetic grace and indefinable elegance.

A woman

with a garland of flowers

in

is

standing near her

attendance,
It
is

gazing on her rapturously.

Sampooran and both the ma, komal

occur
in
this

and
differs

teevar
in

tune.

The
Rohi

scale

the

Rohi
ni, re.

and

Arohi.
(teevar)

Sa

re

(komal) ga,
ni.

ma

(komal),

ma

dha (komal)

Arohi

Sa,

dha (komal)

pa, ma, (teevar)

ma

(komal) ga,

64

Raag Deepak. The tune of fire created out of that mouth of Mahadeo which is turned towards the East. This tune, with its Raagnis, Putrs and Bharjas, may be played in the months of May and June, the
Deepak
is

time of the year. The hour of its performance is dusk, when the shades of night are beginning to gather on the waning light of This tune has the remarkable power the day. of invoking fire in nature, and, if played at the hour, with that correctness which it right demands, the effect is so magical that all the It is a very comlights burn instantaneously.
hottest
plicated

and

classical

tune.

Rohi the Rohi and Arohi. pa, sa. pa, dha (komal),
(komal),
(komal),
ni, sa.

Sa,
ma

The

scale differs in
ga,

Arohi

Sa,

ma

(teevar),
ni,

dha
re

sa,

ga,

pa,

(teevar),

ga,

This mystic Raag is extinct now, and the legend attached to its extirpation is that the court musician Taan-sen was singing it in the presence of the mighty emperor Akbar. His whole soul poured into the song. Sound after sound vibrated through the air and petrified the His song had no ending, till at last hearers. even nature was moved beyond control. Fire

was

ignited

and the place was

in

flames.

This incident proved fatal for the tune and none has dared to sing it since. The awe and fear with which it is regarded, even to-day, is beyond belief. The greatest musician will bend his head in reverence and silence at the very name and will refuse the honour of singing it. which happened It is strange that an incident

IX.

RAAG

DEEPAK

65

centuries

ago should still exercise the same stronghold on the minds of the people, as if it

happened

to-day.

are there, the melody is there, one has the courage and boldness to smg it, and the deplorable fact remains that one of the six great Raags is lost to the world, perhaps for a mere superstition. The tradition goes on to say that the record may only break if the world produces another Taan-sen, which

The

notes

but no

is

not likely.

Deepak

man
in

in

the prime of

red,

represented as a handsome young life, most gorgeously robed The brilliancy sparkling in darkness.
is
is

of

his

person

so

penetrate the gloom

fire.

enormous and shoot

that
like

the rays tongues of

Deepak has five Raagnis, Kaamode, Deysi, Kanhra, Kidara and Nut. These female tunes have variegated qualifications. Kamode and Deysi are personifications Kidara has lost her of "beauties in distress." individuality in thoughts of Mahadeo and her contemplation of the Deity has been so deep that her person has actually assumed the form of the Divinity. She is represented as Mahadeo.

Nut and Kanhra are magnificent women with moral and physical courage. " Daring and bold in war. Arduous and impatient in love." Nut is represented as a conquering hero,
having overcome her enemy after a brief struggle, and holds a severed head in one hand, and a naked

sword

in the other.

66

Kaanhra
features,

has

clear

cut

handsome

and dignity of manner and personality.

is

She

is

dressed in white, covered with shimmering

gems.

Her brow

spotted with the sacred

mark

of religion in camphor.

a subdued elephant in one

She holds one tooth of hand, and a naked

A massive grey elephant is sword in the other. cowering before her, supplicating for his lost tooth.
Her
delicate nostrils are dilated in disdain.
fire.

Her

dark eyes flash

glance.

She gives him

withering

There are eighteen varieties of this tune, and most of them are Salink, i.e. having a semblance

of other tunes.

The time

for

its

performance are the early

hours of the night.

N.B.

It

may seem strange to note that some of the representations of tunes are so crude that they have absolutely no bearing with music. How could warrior-like
be classed among the Raagnis, who are over again associated with all that is exquisitely chaste and refined, ever young and living in the lap of luxury and gaiety. And yet strangely enough such is the case.
over

fighting

women

and

"f

RAAGNI KAANHRA.

XI.

RAAG

MEGH.

67

of

has come out Mahadeo which is turned heavenwards.- The months in which it should be
the
fifth

Raag Megh. This

head of

played are July and August.

It
It is

the lord of rain.

of water
forth
in

charms the element

as

nature
of

and
all

acts

a spell

to

bring
It

torrents

may be played at Megh is represented as a dark handsome man of formidable appearance. He holds a naked sword in
rain flooding the country.

times

in

the

rainy

season.

the hand, flourishing in mid-air as

if

to rent the

very skies, growling and snarling in rage.

scowls heavily.
is

He

His eyes are

fierce.

His hair
a

drawn upwards and

are

twisted

like

turban.

The heavens Thunder and

atmosphere,
aspect.
It is

blackened with angry clouds.

lightning tear the

murky and

thick

rendering

an

altogether

dreadful

Sampooran,

sa,

re,

ga, ma,

pa,

dha, ni

(komal) and ni (teevar) in Rohi and Arohi.

Megh has five Raagnis Gojri, Tunk and Deyce-kar.

Bhopali,
All are

Malar,
lovely
lives

maidens of young years leading happy unbroken joys and pleasing thoughts.

of

E2

68

Gojri is represented as a blushing young maiden, dressed in an orange bodice and

a

crimson
in

scarf
in

wound
a

round

her

beautiful

limbs,

seated

flower-besprinkled

engaged

playing

and

meadow, singing on the Been

with her companion.

o
CD

a < <
cc

CJ:^

69

AstvAddhya (Law of Musical Instruments)

Chapter
IV.

The
with
a

highest

sidered in

India

is

form of musical culture consinging. A person blessed

voice

and understanding is specially favoured. Singing is not perfect unless accompanied by instruments for Tal (time) and
beautiful

Sur
the

(intonation).

The next
musical
variety

in

order
is

of

accomplishment
(playing).

in

musical world

Waadan
in

The
infinite

instruments

India
are

are

of

and

grace.

They
and

classed

under
great

separate
headings.
are

divisions

go

under
are

four

Their

functions
for

varied.

Some
to

meant only

accompanying purposes

songs and other instruments, and have no special bearing, significance or beauty when played by
such as Sarangi, Tubla Pakhawaj, Tamboora, etc. Others are important instruments and are played by themselves, and are full of richness, beauty and intricacy, such as
themselves,
the

Been, Sitar, Sarode, Bansri,

etc.

The
which
India
:

following are
all

the four headings under

come
Tut,

the

musical

instruments
Sekhar.

of

Betat,

Ghun and

Tut
that

comprises

those
or

instruments
steel

are

strung
silken

or

with

with brass and cotton

wires,

cords,

and

are

70
struck
either

by
a

finger nails

or
of

little

the

shape

ivory, of wood, arrangement of wire in Mizraab. finger end called

piece

These instruments Tamboora, etc. Betat

have
form
skins
at

are

the

Been,

Sarode,

are

those
in

instruments

that

stretched

the

hollow

circular a

one end and are

played with

bow,

such as the Sarangi, Taoos, Dilruba,

etc.

Ghun
instruments
struck

are the

species of drumlike

by the

hand or

stick

of

wood

like

Pakhavaj, Tubla, Dhole, Nakkara,

etc.

Sekher. These are the pipe-like instruments blown by the mouth either by full
or
half

breaths,

like

Nafeeri,

Bansri,

Poongi,

Senai,

etc.

There are
to

five

instruments which
skill

if

learned
the

play

with
of

masterful

facilitates

management
are the

other

instruments,
Senai,

and
Sarangi

these

Been,

Murdung,
the

and

Rubaab.
i.

By
By

acquiring

Been
are

to

perfection

Sitar and

manipulated,

Tamboora and such Been being the

its

most easily most intricate

instrument of
2.

kind.

becoming an expert on the Pakhavaj, Tubla, Dhole, Duff, Champ, Dhoomus, etc., may be played without much effort. These are all the species of the drum and Pakhavaj is the most
difficult

of

its

kind.
;

All

have
are
on,

individual

methods of

playing

some
and
so

struck

by the
the

hand, some by rods

but

beat

and

time is more or less similar. Pakhavaj has the most numerous and intricate beats.
3.

Of

all

the

pipe-like

instruments
this
is

Senai
to

is

the most
all

difficult

and

if

learnt
its

perfection
like

the other instruments of

Bansri,

kind,
etc.,

Tota-gazi,
easily

Poongi,
All are
full

Nai,

Bheer,

are

acquired.

mouth, either
to

by

half

or

by the breaths, and the

blown

fingers are pressed on and lifted off the openings

produce notes.
Sarangi
is

a stringed instrument played by

a bow,
that
if

and
this is

the

most
Taoos,

difficult

of

its

kind,

so

played well the other instruments

Dotara,
etc.,

of

its

class

like

are

very

easily
5.

acquired.

The

fifth

instrument, which
the
is

if

learnt

to
inis

perfection,

facilitates
its

learning of

other
If

struments of

kind

Rubaab.

this

learnt with excellence Sarode, Sur-been, Jantroo,

and such are quickly

learnt.

The
the

most

ancient

music
for his

of

India

is

attributed to the

Deity Mahadeo,

Been and

Dairoo

who own

invented
pastime.

Been is the musical representation of the Goddess Parbati and very pretty legends record
the
origin of this instrument.

Those
is

that

are invented

by the Deities are

regarded as sacred, and the profoundest respect

paid to them.
Ganeshji, the Belly-God, invented the classical

drum Murdung

or Pakhavaj after the

style


72
of

Dairoo, and

from

Pakhavaj
of

were

invented

Tubla, Dholak, Dhoomus,

species.

Champ and

other

drum
con-

Many

instruments

simpler

struction and

beauty followed the Been,

Sitar,

like the
etc.

Sur-been, Sur-singar, Tamboora,

The fabled Bansri was the invention of the Love-God Krishna, who intoxicated his milkmaids (gopees) with its sweet and enticing strains.
Senai was invented by

Hakeem Bu

Ali Senai

and named
etc.

after

him Uns.

Tota-gaxi, Aadh-guzi,

followed in later years.

Sarangi
a

is

also the invention of a

Hakeem

of

comparatively
existence

much

later

period.

Dotara,

Kamaancha, Taoos, and similar instruments came

into
after.

The
creation

stirring

of

Omar

and appealing Aiyyar noted

Nai
for

was
his

the

clever

pranks.

Algooza,
later.

Pungi and such came into practice

The

majestic

drum

Nakkara
of war.

was
later.

played
in-

before royalty or in times

Smaller

struments of
(a)

its

kind were made

The
:

following are the instruments that

fingers,

are

played by the

and are

fitted

with

metal bars

Rudr Been
of ages and

is

glorious heirloom

the King of instruments invented by the God of Music, Mahadeo. The beautiful

legend attached to

its

origin runs

thus

73

Mahadeo once saw

gracefully,

Parbati

reposing most
breathing
soft

her

perfumed

breath

music.
in

Her

delicate breasts rising

and following

rhythm.

Her arms and

intoxicated

wrists

were

laden

with bangles.

Mahadeo
gazed
his
at
it

by the ravishing

vision
it

long and silently and retained

in

memory.
last
it

The

lovely picture
left

disturbed

his

mental equilibrium and

at

settled

into

definite
in

him no peace until and extrathe

ordinary composition, resulting

instrument,
the unrivalled

musical

Been

The long neck

figure
breasts,

represents the straight lithe

of

Parbati.

The
all

two gourds her ivory

frets

and

the metal

her bracelets, and

sound, her

most exquisite of
musical breathing.

the exquisite

To

handle a Been

is

a most arduous task, a

life-time of practice can alone produce a master.

The player is seated with folded legs, with one gourd resting on the left shoulder, and the other The style of perresting on the folded legs. forming on the Been is mostly in the Alaapchaari, and the correct accompaniment is the The wires are struck with Mizraabs Pakhavaj.
and the
right
nails,

kept long for the purpose, of the

hand.

The

left

hand

fingers

are

pressed

on

the fixed frets to create notes.

It
is

handsomely ornamented with inlaid ivory and real gold and silver painting, and is
altogether an

expensive luxury.

74

the

Saraswati Veena, so called after Goddess of Music and Learning Saraswati,

is

who

invariably
in

represented
paintings.
in

holding
It
is

the

in-

strument
similar
to

the

somewhat
finger

the

Been

form,
frets

having a

board gourd

and a sloping gourd on top, and the sacred head of a carved lion at one end.
fitted

with

metal

at

the bottom

and

It

is

the instrument of Southern India and

is

accompanied by Pakhavaj. It slanting, pressed and held with

played seated
the
right

arm.
the

The wires
right

are

struck with
the
left

the fingers of

hand,

and

hand fingers

run

is

and down pressing the bars unsupported. a comparatively easier Been of the two.
It
is

up This

beautifully carved
silver.

and

worked

with

gold and

Sitar
of

is

most

happy
is

invention

Amir Khusrao, whose name

so well

known

in the musical world.

of the

It has always been one most popular instruments.

A
it,

particular style
is

of music
J

is

played upon

and one which

called

ore and
Sitar.

Gut Toda.

The drum Tubla accompanies

It
is

invariably

played seated,
the
of

and is the right arm pressing the gourd

highly ornamented

neck
the

is

held slanting.

On

the
is

first

finger

right

hand
wires,
to

a the

Mizraab
left

worn which
press
the

strikes

the

fingers

moveable

frets

form

the notes.


75

modest little instrument of one wire only, used by wandering mendicants, who sing Bhajans (hymns) on it. A bit of skin is stretched in the hollow circular form, and on the neck or rod one wire is strung. That one wire is struck at intervals to accompany the song. The sound is exceedingly
is

Ektara

pathetic.

Tamboura
invented

is

by

itself.

This was
It

by the demi-god

Naradja.

has

sloping gourd and a long neck strung by four

The object of this instrument is merely to accompany songs and other instruments that are played individually.
wires
only.
It
is

played seated

the gourd rests between

rests

the

legs,

and

the
first

neck
finger

on
the

the
right

right

shoulder.

The

of

hand

alone strikes the four chords at regular intervals

in

rhythm with the

tune.
like

singer

is

perfectly

fish

out

of

water without

his

Tamboura.
are

(b)

by a

The following instruments bow and have metal bars for

:

played

the guidance

of notes

Kamaancha.
of

This

is

made
the

entirely

wood,
;

and

skin

stretched on

lower

and the upper portion is just like a and like Sitar, and the lower like a Sarangi the Sarangi, it is played with a bow.
portion
;


76
It
is

mostly used

in

Punjab

as

accom-

paniment to songs.

Taoos, so
beautiful colour
It
is

called

because

of

its

and shape
all

like that of a peacock.

painted in
bird.

the metallic shades

tail
is

of

the

beautiful

Its

the

straight

finger

board
Sitar,

fitted

with
the

and

moveable frets just lower portion is the

It
is

like

the

head of

the fascinating bird.

played

seated with

a bow.

Dilruba.

This
that

is

similar to Taoos.

The only
the head

difference
of

is

the
this

Taoos has got

has not.
It
is

a peacock and

played seated with a bow-

(c) The following instruments bow and have no metal bars

:

are played with

Sarangi.

Is the violin of the

East

Its tone is delicate and sweet, and is quite a It is a necessary asset to singing and dancing.

very popular instrument

fluctuations, inflections

all

over India.

All the

and variations of a voice

can be most beautifully imitated on this instrument.

skin

is

stretched on the lower squarish portion,

and two groupings of wires are placed upon the surface, one above the other. The upper ones are
played with a bow.
notes
are
It

has no
the

frets,

so that the
It
is

created

on

surface

wires.

played

standing or seated just as the

occasion

may

require.

77
It
is

the invention of a
relates that

times.

The legend
foot,

Hakeem of former a Hakeem was once

and worn out with heat and fatigue rested beneath a huge tree. Suddenly some sweet strains of music struck his ears he
travelling on
;

listened

astonished, attentively,

and searched

in

vain from whence the sounds came, until at last

looking up he discovered a wonderful phenomenon,

the object of his search.

The
its

dried

skin

of

dead

monkey was
with

stretched between two branches

dried guts, and the

entangled

wind blowing through it caused melodious sounds. He carefully removed the skin and guts, replaced them on a construction of wood, and after some years of labour, with due modifications and additions, completed the present day Sarangi. Sarangis, made in Jaunpori, are most known.
Sazinda.
instrument
invented

This
by

is

quaint looking

Guru

Amardasji
city
is

of

Amritsar, whose temple in that

so

well

known. It is made entirely of wood and has an oval, hollow form beneath, and a strip of wood across on which wires are strung It is placed in the same position as the Sarangi, and played The fingers are pressed on the with a bow. wires to form notes.

Hindustani
stringed instrument
is

Dotara:
the

This

two-

like a simplified miniature

Sarangi,
called

and

used

by

peasantry.

It

is

Dotara, which literally means two wires.

78

Marwari
used
is It

Dotara. This
has
a
it.

is

only
half

in

Marwar.
of

It

gourd of a

cocoanut with a skin stretched over

The neck
two
wires.

made
is

wood on which

are strung

played with a bow.

(d)

The
have

following

instruments

have
to

four a

wires,

no

frets,

plectrum.

They

are

all

and are played very difficult

with

learn,

and are played seated.

Rubaab This
the

is

supposed to be
It
is

invention
of

of

Sikandar

Zulquarnein.

made

wood and
It

skins stretched on

the lower

portion.

has two groups of wires, one below

the other.

The

surface

has got four wires, and

It
is

seven below, called Taraps.

triangular

played with a
notes
are

piece of wood and the made by manipulation of the wires.

Sarodeto

Is similar in

in

construction
It

Rubaab,

but different

form.

has

circular hollow
it

gourd with skins stretched over and the neck ends in a hook-like arrangement
top.

on

Ghaartar.
This instrument
is

Literally
Was

four

wires.

much

akin to Sarode in conshape.

struction, but differs slightly in

Sur Been.
Saheb, Prince of Delhi.
It
is

invented by Kaale

like
is

the Sitar in shape with the

bars.
steel.

The

surface

covered with a thin plate of


79
It has two groups of wires, four on the surface and seven below.

made

of

Sur Singhar. Like Rubaab it is wood and skins stretched on the lower
its

portion that widens

Owing

to

into an ovalish elongation. extreme complications there are

very few musicians

instrument.

who
Sen,
is

attempt

to

play this
the

Bahadur

one

of

court

musicians of Rampur,

an expert on the Rubaab

and Sur Singhar.

Tarab.

This

is

a quaint instrument

made out
on
is

of one piece of

wood and
portion.

skin stretched
It

the

widened
It
is

lower
laid

has
its

many
playing

wires but no
peculiar.

frets.

The method
flat

of

ground and struck by a long, thin semi-circular strip of wood.

on

the

(e)

The

following
:

are

pipe-like instruments

blown by the mouth

Algooza. It bamboo and black wood.

at

is It

a
is

flute

made

of

slightly

wider
seven

the

bottom

than

the

top

and

has

apertures at equal intervals.

Pair of Algooza. These are two pipes of similar kind blown at one time and used by the peasantry.

Nai

has been the theme of

is

all

poets

It and love-ditties. Aiyyar to ensnare

the invention

of
its

Omar
magic

maidens

with

8o

sounds.

It

is

exactly like

the

barrel of a

gun

and has seven openings.

Bansri.
tion

The

fabled.

It

is

the crea-

Krishna-Kanhaiya to Love-God entangle the Gopees (milkmaids) in its charmed

of

the

meshes.

He

succeeded well, for

in

we have

endless

tuneful legends and songs depicting the surrender

of lovely maids
Its

spite

of themselves.

sacred tones

may be heard through

the

force of
It is

Yog

(meditation).

accompanied by the Duff.

Sankh.

Is
is

very

rare

and

sacred.

No

place of worship
It
is

without this Conch.

nature.
in

the
a

manifestation of sound in
species

Sankh
shape.
is

is

of

shell

upside

down

In

all

the temples and shrines the conch

first

blown and
shrill

then

the

place
if

entered.

It

has one

note

only,
is

and

placed
its

in

windy

position

the sound

created on

own

account.
Its

tone

may

be heard in Yog.

Sanghra. This is really a horn of deer which is blown in the temples and thus

considered sacred.

Turai
is

is

made

entirely of brass

and

played with Duff.

Bheer
flutes of

is

one of the
It

mythological interest.
of

most ancient was played in

It
is

the

marriage

Mahadeo

and

Parbati.
shrill

made

entirely of copper

and has a

sound.

8i

Karna
awkward
in
to

is It
is

hold.

heavy curved pipe blown hard and played

big
festivals.
is

band

in

times of important occasions, like

war,

marriage

and
of

other

It

is

entirely

made

brass and the sound

harsh

and

loud.

ment

used

subduing

Poongi. This is a flute-like instruby conjurors for fascinating and snakes. The sound is supposed to

exercise great
It
is

power over these

of
a

reptiles.

composed
thin

dried

and
at the

cleaned

vegetable
end.

marrow with an opening

and

narrow
in

Two

smooth
holes are

round

Singapori
the

bamboos with seven

centre of the

attached

gourd
in
is

below.

Two human

hairs

are inserted in the

pipes and attached with wax.

the narrow portion
of the

The

big opening

vegetable

marrow

blown by the mouth and

notes and tunes produced.

It
is

extraordinary

how

the weird

sound of

Poongi affects the serpents. The conjuror on the floor playing the monotonous tune, swaying his body to and fro in a circular movement. The serpent gets strangely fascinated by the movement. It raises its head and unthe
sits

conscious

of

all

its

surroundings
It

follows

the

conjuror

bewitched.

sways

its

body

and

moves
spirit

circularly.

The tune
gets

gets louder.

The
it it
;

of
it

music
gets

more
of
it

and more into

completely

until

hold

becomes the embodiment of the tune, breathing

82
the

melody
the

with
music.

its

motions.
spell

The
and,

conjuror

stops

The
his

being broken, the

subjugated,

snake

drops

down
into

fatigued

glides back

dark den.

Murchang.
strument.
It
is

This
made

is

strange
strips

in-

entirely

of thin

of

wire
strip

in
is

fork-like

arrangement.

The

central
It
is

elongated and curled at the end.

left

held in the held

quite

hand.
to

The
the
Pir,

central

portion

is

close
like

mouth
etc.,

and

certain

expressions

Dar

are

whispered
taps
soft
is

musically over

the fork.

rhythmically the curled

The right hand The sound is end.

and captivating.
quite

In

some parts

of India this

a popular pastime.

Uns.

This

flute-like

instrument

is

played in a tiny band of four people called the

Chouki Wala, comprising two Uns players, one drummer who beats on the Champ and one bellringer who shakes the Jhoon

Roushan

Jhoona
precedes
cession
cortege.

in

rhythm.

This

band plays on festive occasions, and bridegroom in a marriage proor goes in advance of a nobleman's
the

The
of metal,

construction of
is

Uns

is

as

follows.

tube having seven holes

inserted into a cast cup

little

and three one

strange

contrivances

are

held

together with silk strings.

They
of

are the

fitted

into

another

on

the

mouth


83 tube.

The
hole

first

is

metal

needle

which
into

is

adjusted half

way
in

in the tube.

A
is

disc of ivory,
this

with a
needle,

the

centre,

fitted

and
called

lastly a

blade of
is

rare

species

of

grass
top.

" Paalaa "

fixed

carefully

on

the

The grass is soaked for an hour and then Uns is ready for use.
Senai.

The
Senai.
to

remarkable
It is

invention
in

of

Hakeem Bu
the

Ali

customary
little

India for

pupils
in

and

prayers

the

make name

offering

of

the

great

philosopher before beginning their studies.

Senai
appearance.

is

more or
Its

less

similar

to

Uns

in

narrower towards the top Both tube and cup are made of black wood. The metal needle, ivory disc and blade of grass are adjusted on top as in Uns, only they vary in size. This wonderful grass called Paalaa is
tube
is

and widens

at

the bottom.

cultivated in
care.
It is

special

region with the greatest

red,

white

or

very

flexible,

and

only used for the purpose of Senai and such instruments. All the tunes, with their fluctuations

and variations, can be very

is

finely executed

on

this.

Senai

played

in

the

temples

and

in

band

called

Noubat.
literally

Noubat

means

nine

performers

Two

Senaichees (Senai players), two Nakkarchees (drummers), one Jhanj (bellringer), one Kar(Karnai
player),

naichee

one

Damama (drum
F 2

84

beater),

one

Baaridar (attendant

to

warm

the

drums and fill the hookas for the party), and one Jamadar (conductor and leader of the band).
Noubat
for

was
dead

band
living,

exclusively

organised
kings
in

the

dignity and or

majesty of the

and
the

noblemen,

and

placed

gateway
tombs,

of

palaces,

mansions,
in

mausoleums,
of
their

etc.,

of

royalty,

recognition

presence there, living or dead.

The custom
Noubat
is

is

still

prevalent in

India.

played eight times during twenty-

four hours at an interval of every three hours. In the times

of royalty
it

was

also

war

band and most stirring anecdotes are told of famous leaders of Noubat who stimulated the soldiers with courage and zeal.

Sangur and Bhallun are most

in

brilliant

names

history. Their magical play and undaunted prowess inspired the soldiers with fresh energy and confidence to face the enemy over and over again. Bhallun and Sangur fell martyrs in the battlefield and were buried on the spot where they fell.

A
the
tribute

pilgrimage
of

is

made

to

the

tombs by

all

musicians

this

class

and offerings

and

paid to their respective names.

sticks with

The

which they beat the drums

shading
their

were entombed.
large beautiful

After some time they grew into

trees

graves

and
of

yielding
fruit.

most

delicious

and

large quantities

So runs the

tradition.

85

(/) The following are the drum species, struck either by the hand or stick. These are

only used for keeping the Taal (time).

is

The Taal

a very complicated factor in the Indian music

and varies considerably with each song.

The drum Pakhavaj has

three

got

nearly

two or
finished

hundred
is

varieties

of beats for each Taal

and
for

it

quite an ordinary thing for a

Pakhavaj
a

player to go on playing
of days.

varied

beats

number

Pakhavaj
belly-god Ganeshji, and
India.
It is

was
is

invented

by

the
of

the classical

drum

It

is

only

most difficult of its accompanied on Dhurpad

the

kind.

and

Hori style of songs, also with classical dancing and the " Been." It is the shape of a barrel and

made
side.

of

wood with

skins

stretched
is

on

either

On
makes

one side black ink

It

applied and

on
are

the other the dough.

helps the dash of tone

and

it

rich

in

sound.
are

The
of

skins

strung

with

cords

which

loosened
the

and

tightened according to the voice

singer.

The

variety of sounds that are produced on the

is

Pakhavaj

nothing short of a marvel.

it

Sometimes
it
it

is

the

boom

of guns, sometimes

is is

thunder, sometimes it is nasal, sometimes the cry of birds and animals, and so on.

The
the

beats of the Pakhavaj are

first

produced

vocally and the

drum

same wording is reproduced on Each beat has got a name of its own

86

and the knowledge of them means quite a

long study.

life-

They
It is

comprise

such

expressions

as
etc.

Kit,

Tika, Giddi, Ghun, Tuk,

Dhikat, Dha,
the

wonderful how
if

very

words are

suggested as

somebody was repeating them.

is

Tubla
of a
lighter

the
is

happy

invention

of

Sudhar Khan Dhari and

Pakhavaj.
In

a very popular

drum

and easier nature to play than the

it

appearance
into

is

like

Pakhavaj
either

equally
also

divided
is

two
less

parts.
similar.

The
It

construction
is

more

or

played

squatted on the floor or standing.

The

beats are as follows

etc.

Dha, Dhin, Dinna,

Turkat, Kittack,

Manjera.

These

are metal cups of

extremely pleasant sound, attached to each other

with a loose piece of string, and mostly played in

rhythm with a Tubla.

at intervals.

Both the cups are held

in

the fingers, one heavier than the other, and struck

Even

this tiny little

is

instrument has

various beats, and

struck in a certain method.

are

Dhoomus and Champ. These

two funny
one
for
little

drums, one for the right hand and

the

left.

They

are

earthenware cups,

covered with skins and encased in a cage of cords,

and hang low from the neck of the player on either side by means of the strings. It accompanies the flute Uns in the band of Roushan Chouki Wala.

87

Nakkara.
accompanies the Senai
are

The

royal

drum.

It

two

in

in the band Noubat. number, one smaller than the

is

They
other.

The

right-hand side;

and placed on the and the larger one is called " Nar," and placed on the left side. The drummer takes two sticks in both hands, and goes on
smaller
called "Zeel,"

striking according to the tune and time required,

sometimes
times

striking

both

with
a

equal

beats

on
or

each by turns, sometimes unequally, and at other each

stick

strikes

drum with equal

unequal beats.

They

are

stretched on their surface.

majestic and imposing.

huge metal cups with thick hides The sound is loud,

Dhole. Is a barrel shaped drum by women called Doomnies, on festive occasions accompanied by songs suited to the It is easy and vulgar. occasion.
played

Taasha.
metal

Is

flat

drum made
it,

of

or clay with a skin stretched on

and

struck with two sticks.

Marfa.
the

Is

more or

less

similar to

above,

and weddings,

and struck with one Taasha are both played in

etc.

stick.

Marfa

band

at

Jhanj.

It

is

Castanet

species

made

of metal.

Duff.

Is

another
it.

wood, with skin stretched over two Bansris and one Tarai in a band.

drum, made of It accompanies

Dairoo. Is the oldest drum of It is made of wood India invented by Mahadeo. and skins stretched on either side, and struck by two sticks, one in each hand.
It
is

played in Rajputana.

Dairaa.
struck by

Is

round round

flat

drum,

the hand, and

played in bands.
a
flat

Khanjri.

Is

drum

played by both hands.

Daphra
Dhulak.
Kartal
with
little

is

magnified

Khanjari

played in the Holi festival in Marwar.

Simplified
a pair of

beats

of

the

Pakhavaj and Tubla are played on this drum.

is

wooden
It

castanets

bells attached to them.

accompanies

Bhajans
occasions.

(hymns)

or

mournful

songs

on

sad
china
a

Jaltaran.
cups arranged
in

These
row
water

are sixteen
fitted

and
to

with

sufficient

quantity of

form

the
rods.

scale

of notes, and

struck by two curved

The

sound is more or less choppy, and the style of Gut-Toda of the Sitar is executed on this to perfection. It is accompanied by the Sitar. This is a rough sketch of the well-known instruments. There are very many more of lesser
the

importance
different

belonging

to

different

provinces,

districts

and

different

villages.

They
distinct

have their

own own

native music and songs.

of

The music
and has
its

South India

is

quite

instruments, Raags and Taals.

89

Tales of Indian Music.

Chapter
Music
animals.
i.

V.

has

wonderful

power over animals,

and certain tunes exercise fascination on certain

Siraj-ud-dowlah used to hold concerts in
animals, and

the jungles for the benefit of the

when Todi was played, it attracted the deer, who would come nearer and nearer, listening
to

the

strains

with

rapture
attract
#

and

pleasure.

Similarly, Aa-sa-ori

would
*

serpents and

peacocks.
#
2.

Mirza
his

Mohammad
garden.

Bulbul would play the

nightingales

Nai

in

The

would

hover around him, and flutter from branch to branch until they would actually drop down in
a state of ecstacy.
#
3.

The Prince
snakes.

of

Mysore would take

district

his court

musicians to a neighbouring

inhabited by

deadly
circle

and

play

The performers would form a As the sounds the Poongi.

would grow

would draw the snakes from their holes, who came gliding to whence They would crawl and creep the sounds came. towards the players, encircling them on all sides, sway into them heads, and rear up their
louder, they
perfectly

intoxicated

with the weird sounds.

90

glide

As soon as the music away quietly without

#
4.

stopped, they

would

injuring anyone.
#
is

Kidara, the female tune,

connected with
play
it

a superstitious belief that those

to grief;

who

come
is

that

is

why
#

it

is

unpopular.
air.

It

an

extremely classical and pretty

*

5.

do you
to

Mahadeo went to Naradji and said, "What know of Been playing that you dare
to

attempt

handle

the

sacred instrument?"

Naradji

said,

" If

you can produce anyone who

courage to play
before

would

have

the

me

should acknowledge his superiority."

Mahadeo
Naradji
great

at

once

sent

for

Saraswati,

and
her

asked her to perform before him.

was

perfectly

breathless

with

accomplishment,
#

and
#

bowed down
#

before

her as the presiding Deity of music.

6.

Hanouman was very proud

this,

of his musical
it.

attainments, and foolishly boasted about

Rama,

hearing

got annoyed, and devised a plan to

humble

his boastings.

In the jungles there dwelt a noble Rishi

who

practised music with success, until he caused the

Sapt-swaras (seven
in

notes)

to

become embodied

seven lovely nymphs.

On
Rishi,

the
in

pretext the

of

hunting,
of the
to

Rama

took

Hanouman

vicinity

and begged of him

abode of the give them some

9i

music.

In the meantime,
off

show

his

qualifications, took

Hanouman, wanting to up the Veena

proudly and began to play.

Just

then

the

seven

lovely

nymphs

or

notes passed by them, they were going to fetch

Hearing the music one stopped, swayed, and fell dead. Hanouman had played that note
water.
incorrectly
!

The sister notes (nymphs) were comfortless and moaned and lamented her death piteously. The Rishi seeing all smiled. Took up the Veena and struck the notes loudly. As soon as the dead note (nymph) was played correctly revived and gaily rejoined the sister notes it and there was much rejoicing.
Hanouman, thoroughly ashamed of himself, hung his head down and performed penance
for

his

silly

vanities.

7.

In the reign of the great

there lived a saint-ascetic,

in

Emperor Akbar named Haridas Swami,

acquisition

Muthra,

whose
the

wonderful
ears of the

of

music reached

Emperor and he

He tried his best was impatient to behold him. he sent for failed. At last and him see to Taan-Sen and confided in him his troubles. Taan-Sen replied, " He is greater than all and recognises no man Emperors, O Emperor
!

on

earth, save his

own

glorious sacred

art,

which

"

92

he respects above
you,

all.

He

will
to

not come to see

but

if

you condescend

go

to

Muthra

you

will see him."

Akbar accordingly
beheld the great
of

travelled

to

Muthra and
the presence
in their

Swami commanding
to

the

Raagnis

appear

at

will

own
of

glorious and beautiful forms with the

his

power

tunes

When
and
I

sad.

Bhairaveen came she looked dejected The Emperor asked her the reason

of her sorrow, and she replied "

What

can

do?

am most unhappy. Sen) who disturbs my

seasons

It

is

this

Tannu (Taanat
!

all

peace by playing me and hours not congenial to me

Akbar
greatness

perfectly wonderstruck recognised the

of the

Swami.
# # #

8.

distinguished patronage

Music flourished considerably under the of the Mogul Emperors.

last

Aurangzebe, the
a bigoted
nature, which

great

Mogul Emperor, was

a caustic,
all

Mahomedan and had

at

dry

checked the flow of

his

arts

and
hard

music
stifled,

suffered

hands.

The people got

to soften

and devised a scheme

his

heart.

They prepared
tearing
his

a bier,
hair,

and beating their

passed
it

breasts and

their

slowly

under
their

window.
grief,

The solemn and heart-rending

sight impressed him.

He

inquired the reason of

and was told that the Divine Goddess, Music, had died for want of appreciation
wild

93

and was being buried. he cried, " so that no

issue

Dig the grave deep," sound or echo should

"

forthwith

"
!

9.

Taan-Sen, the
singer
that

court

musician,

the

last

greatest

India

had
over

produced,
his

had

such
the

extraordinary power

music that

by way of boasting
night
that

he
as

began

singing

one of
could

tunes
so

at

noon.
his

He

sang with such

effect

far

glorious voice

reach the world became enveloped in darkness.

Taan-Sen was once singing the Raag Deepak in the Court of Akbar and the place was in
10.

flames.

maiden carrying water passed within its precincts and, hearing the tune and seeing the place in flames, stopped, set her vessel down, clasped her hands and bent her figure supplicating the gods to assist her, stood up again and drawing a deep breath began singing the " Raag Megh." She sang this with such sincerity that the Heavens were disturbed and rain poured
forth
in

torrents extinguishing the flames

said that skilful

It is

performers have often

averted famine by singing the Raag Megh.

*
11.

fiery

There are many legends attached qualities of the Raag Deepak.

to the

94
In the innermost sanctuary of an old temple

there

burned
fresh

sacred

light

for

ages,
to

and
fill

through the forgetfulness

it

of

the priests

with

oil

the

light
at

was
once

extinguished.

The

whole

country was

thrown

in

disturbance
incident to

and

despair.
evil spirit

They

attached

the

some
all

hovering round them,

befall the country.

and thought

ills

would

The famous
to

musician, hearing of this, offered

burn the

light

with the magic power of the

song.

The Rajah
great honours

of the
to

land
shrine.

escorted

him

with

the

At the hour congenial

to the

Raag he began

his song, and sang it with such effect that there gleamed a tiny light in the innermost gloom of Then, one by one, all the Deevas the sanctuary. (lamps) in the temple were mysteriously lighted.

He had

averted the calamity.

12.

The end

of

Naikgopal,

one

of

the

mightiest singers the

most

tragic.

Emperor Akbar,
his

world has produced, was in one of his moods,

insisted

on

singing the

Raag Deepak.

The

celebrated singer had at this stage attained that

high perfection that he would not sing a song

without stirring the supernatural forces of nature.

He begged
to

of

the

excused, but the monarch's

Emperor to hold him wayward wishes had

be

humoured.

95

Gopal disappeared for six months, and came back prepared to meet his awful doom.

He

placed himself neck deep in the sacred

Jumna, and began his song. The pure notes vibrated the air. The water began to heat, and soon began to boil. The slow
river of the

was more than he could bear. He begged of the Emperor to allow him to discontinue. Akbar was merciless, and the unfortunate singer was compelled to resume the
torture
of the

singer

fatal

tune.

In the agony of his

burst forth with

dreadful

sufferings

he

tremendous

vigour,

and
fire

sang

with such power that the

excited in nature, each note

element of

was

turned to flame and

fire

whole person consumed his body.

his

exhaled

and

slowly

Taan-Sen had four sons, and, unlike the father, they had no taste for music. The eldest son, called Bilas Khan, was of a roving nature and inhabited the jungles. It was a great disappointment to the people to think that none of his own sons were capable of occupying the same high position in the musical world as the noted father, and that one of his pupils would
13.

have to be selected to take

death.

his

place

after

his

In

course

of

time

Taan-Sen
as
to

died,

and the
be

question

now

arose

who

should

appointed in his place.

96

The

pupils

fought

among

themselves

for

supremacy.
Bilas

The

public could not decide as the

one was as good as the other.

In the meantime

Khan returned from

all

his

wanderings.

Saw
dear
of
a

his revered father's coffin

lying on the threshold

and
great

steeped

in

sorrow.

He saw
the

his

mother

inconsolable,

bemoaning

loss

name.
stepped into their midst and said "
father's
coffin

He
will

He

who can move my

The
pupils

with his song

be awarded the Pugree (turban)."

proposal and stood

were staggered to hear still and frightened.

this bold

no one answered his challenge, he sang the Raagni Todi with such pathos and feeling, that the coffin actually moved.
People acknowledged his greatness, and the

When

Emperor

tied

the turban on his head.

is It

The
melody.

tune

now known
is

as

Todi Dhurpad.

a dignified,

Khani manly and slow

Bilas