NCERT Textbook: Ragas and Talas/Taal | Arts (kriti) Class 7 - New NCERT PDF Download

 Page 1


????? ????? ? ???????? ? ?? ? ??????????? ? ??????????? ???
????? ? ?? ? ????????? ? ?? ? ???? ??? ??? ??? ? ??? ?????
– ?? ????????????,?28/23
?ha?jashcha ?i?habhash chaiva Gandharo Madhyamas tatha.
Pañchamo Dhaivatash chaiva saptamo'tha Ni?hadavan. |21|
Natya Shastra – 28.21
The seven notes practised during the times of Natyashastra 
are as follows: Sadaj, Rishabh, Gandhar, Madhyam, 
Pancham, Dhaivat and Nishad 
7
Ragas and 
Talas/Taal
Every year, we build on our 
understanding of both styles of 
Indian Classical Music — Carnatic 
and Hindustani. This year, we will 
explore more compositions, Ragas 
and Talas/Taals. See how you can 
draw connections between the 
two styles of classical music, and 
between classical music and other 
styles of music that you listen to. 
The notes of Indian 
Classical Music evolved 
from the ritual chanting of 
the Samaveda. Initially, the Vedas 
were chanted with three notes, namely, 
Udatta (normal or medium tone), Anudatta 
(not raised, or lower note) and Svarita (raised 
pitch or higher). These gradually evolved into 
the seven notes (sapta swara) that we use in 
music.
DO YOU 
KNOW?
Gangubai Hangal
Page 2


????? ????? ? ???????? ? ?? ? ??????????? ? ??????????? ???
????? ? ?? ? ????????? ? ?? ? ???? ??? ??? ??? ? ??? ?????
– ?? ????????????,?28/23
?ha?jashcha ?i?habhash chaiva Gandharo Madhyamas tatha.
Pañchamo Dhaivatash chaiva saptamo'tha Ni?hadavan. |21|
Natya Shastra – 28.21
The seven notes practised during the times of Natyashastra 
are as follows: Sadaj, Rishabh, Gandhar, Madhyam, 
Pancham, Dhaivat and Nishad 
7
Ragas and 
Talas/Taal
Every year, we build on our 
understanding of both styles of 
Indian Classical Music — Carnatic 
and Hindustani. This year, we will 
explore more compositions, Ragas 
and Talas/Taals. See how you can 
draw connections between the 
two styles of classical music, and 
between classical music and other 
styles of music that you listen to. 
The notes of Indian 
Classical Music evolved 
from the ritual chanting of 
the Samaveda. Initially, the Vedas 
were chanted with three notes, namely, 
Udatta (normal or medium tone), Anudatta 
(not raised, or lower note) and Svarita (raised 
pitch or higher). These gradually evolved into 
the seven notes (sapta swara) that we use in 
music.
DO YOU 
KNOW?
Gangubai Hangal
74  |  KRITI
CARNATIC MUSIC
Sapta Tala Alankaras
A popular set of vocal exercises to build vocal strength 
and understand talas is the sapta tala alankaras. 
CARNATIC TALAS
There are seven main talas in Carnatic Music.   
They are:
1. Dhruva 
2. Matya 
3. Rupaka
4. Jhampa
5. Triputa 
6. Ata 
7. Eka
 The three main parts or angas that make up  
a tala are:
1. Laghu (clap and finger counts*):  notated I 
2. Drutam (clap and wave): notated as O
3. Anudrutam (beat): notated as U
Note: There can be different number of beats in a 
laghu, which is known as jathi. For this level, each 
laghu has four beats.
 In this chapter, we will learn to sing the first three 
alankaras and keep tala:
I
4
0 I
4 I
4
S R G M | G R | S R G R | S R G M ||
R G M P | M G | R G M G | R G M P ||
G M P D | P M | G M P M | G M P D ||
M P D N | D P | M P D P | M P D N ||
P D N ? | N D | P D N D | P D N ? ||
? N D P | D N | ? N D N | ? N D P ||
N D P M | P D | N D P D | N D P M ||
D P M G | M P | D P M P | D P M G ||
P M G R | G M | P M G M | P M G R ||
M G R S | R G | M G R G | M G R S ||
Matya Tala
I
4
0 I
4
S R G R | S R | S R G M ||
R G M G | R G | R G M P ||
G M P M | G M | G M P D ||
M P D P | M P | M P D N ||
P D N D | P D | P D N ? ||
? N D N | ? N | ? N D P ||
N D P D | N D | N D P M ||
D P M P | D P | D P M G ||
P M G M | P M | P M G R ||
M G R G | M G | M G R S ||
Dhruv a Tala
Page 3


????? ????? ? ???????? ? ?? ? ??????????? ? ??????????? ???
????? ? ?? ? ????????? ? ?? ? ???? ??? ??? ??? ? ??? ?????
– ?? ????????????,?28/23
?ha?jashcha ?i?habhash chaiva Gandharo Madhyamas tatha.
Pañchamo Dhaivatash chaiva saptamo'tha Ni?hadavan. |21|
Natya Shastra – 28.21
The seven notes practised during the times of Natyashastra 
are as follows: Sadaj, Rishabh, Gandhar, Madhyam, 
Pancham, Dhaivat and Nishad 
7
Ragas and 
Talas/Taal
Every year, we build on our 
understanding of both styles of 
Indian Classical Music — Carnatic 
and Hindustani. This year, we will 
explore more compositions, Ragas 
and Talas/Taals. See how you can 
draw connections between the 
two styles of classical music, and 
between classical music and other 
styles of music that you listen to. 
The notes of Indian 
Classical Music evolved 
from the ritual chanting of 
the Samaveda. Initially, the Vedas 
were chanted with three notes, namely, 
Udatta (normal or medium tone), Anudatta 
(not raised, or lower note) and Svarita (raised 
pitch or higher). These gradually evolved into 
the seven notes (sapta swara) that we use in 
music.
DO YOU 
KNOW?
Gangubai Hangal
74  |  KRITI
CARNATIC MUSIC
Sapta Tala Alankaras
A popular set of vocal exercises to build vocal strength 
and understand talas is the sapta tala alankaras. 
CARNATIC TALAS
There are seven main talas in Carnatic Music.   
They are:
1. Dhruva 
2. Matya 
3. Rupaka
4. Jhampa
5. Triputa 
6. Ata 
7. Eka
 The three main parts or angas that make up  
a tala are:
1. Laghu (clap and finger counts*):  notated I 
2. Drutam (clap and wave): notated as O
3. Anudrutam (beat): notated as U
Note: There can be different number of beats in a 
laghu, which is known as jathi. For this level, each 
laghu has four beats.
 In this chapter, we will learn to sing the first three 
alankaras and keep tala:
I
4
0 I
4 I
4
S R G M | G R | S R G R | S R G M ||
R G M P | M G | R G M G | R G M P ||
G M P D | P M | G M P M | G M P D ||
M P D N | D P | M P D P | M P D N ||
P D N ? | N D | P D N D | P D N ? ||
? N D P | D N | ? N D N | ? N D P ||
N D P M | P D | N D P D | N D P M ||
D P M G | M P | D P M P | D P M G ||
P M G R | G M | P M G M | P M G R ||
M G R S | R G | M G R G | M G R S ||
Matya Tala
I
4
0 I
4
S R G R | S R | S R G M ||
R G M G | R G | R G M P ||
G M P M | G M | G M P D ||
M P D P | M P | M P D N ||
P D N D | P D | P D N ? ||
? N D N | ? N | ? N D P ||
N D P D | N D | N D P M ||
D P M P | D P | D P M G ||
P M G M | P M | P M G R ||
M G R G | M G | M G R S ||
Dhruv a Tala
75  |  Ragas and Talas/Taal
0 I
4
S R | S R G M ||
R G | R G M P ||
G M | G M P D ||
M P | M P D N ||
P D | P D N ? ||
? N | ? N D P ||
N D | N D P M ||
D P | D P M G ||
P M | P M G R ||
M G | M G R S ||
Rupaka Tala 
A swarajati is a very old musical form in Carnatic 
Music comprising swaras and 
sometimes lyrics. Usually, it has 
three parts — pallavi (refrain or 
chorus), anupallavi (small section 
after the pallavi) and one or 
more charanams (verses).
DO YOU 
KNOW?
 As you can see, all these alankaras are built on 
patterns. Can you try making your own patterns of 
sargams or notes as vocal exercises?
 Now let us sing a swarajati.
 Before singing this composition, sing the Arohana 
and the Avarohana. Try keeping tala as you sing the 
composition. Adi Tala is a rhythm cycle of 8 beats. 
Carnatic vocalist Aruna Sairam at a concert
Page 4


????? ????? ? ???????? ? ?? ? ??????????? ? ??????????? ???
????? ? ?? ? ????????? ? ?? ? ???? ??? ??? ??? ? ??? ?????
– ?? ????????????,?28/23
?ha?jashcha ?i?habhash chaiva Gandharo Madhyamas tatha.
Pañchamo Dhaivatash chaiva saptamo'tha Ni?hadavan. |21|
Natya Shastra – 28.21
The seven notes practised during the times of Natyashastra 
are as follows: Sadaj, Rishabh, Gandhar, Madhyam, 
Pancham, Dhaivat and Nishad 
7
Ragas and 
Talas/Taal
Every year, we build on our 
understanding of both styles of 
Indian Classical Music — Carnatic 
and Hindustani. This year, we will 
explore more compositions, Ragas 
and Talas/Taals. See how you can 
draw connections between the 
two styles of classical music, and 
between classical music and other 
styles of music that you listen to. 
The notes of Indian 
Classical Music evolved 
from the ritual chanting of 
the Samaveda. Initially, the Vedas 
were chanted with three notes, namely, 
Udatta (normal or medium tone), Anudatta 
(not raised, or lower note) and Svarita (raised 
pitch or higher). These gradually evolved into 
the seven notes (sapta swara) that we use in 
music.
DO YOU 
KNOW?
Gangubai Hangal
74  |  KRITI
CARNATIC MUSIC
Sapta Tala Alankaras
A popular set of vocal exercises to build vocal strength 
and understand talas is the sapta tala alankaras. 
CARNATIC TALAS
There are seven main talas in Carnatic Music.   
They are:
1. Dhruva 
2. Matya 
3. Rupaka
4. Jhampa
5. Triputa 
6. Ata 
7. Eka
 The three main parts or angas that make up  
a tala are:
1. Laghu (clap and finger counts*):  notated I 
2. Drutam (clap and wave): notated as O
3. Anudrutam (beat): notated as U
Note: There can be different number of beats in a 
laghu, which is known as jathi. For this level, each 
laghu has four beats.
 In this chapter, we will learn to sing the first three 
alankaras and keep tala:
I
4
0 I
4 I
4
S R G M | G R | S R G R | S R G M ||
R G M P | M G | R G M G | R G M P ||
G M P D | P M | G M P M | G M P D ||
M P D N | D P | M P D P | M P D N ||
P D N ? | N D | P D N D | P D N ? ||
? N D P | D N | ? N D N | ? N D P ||
N D P M | P D | N D P D | N D P M ||
D P M G | M P | D P M P | D P M G ||
P M G R | G M | P M G M | P M G R ||
M G R S | R G | M G R G | M G R S ||
Matya Tala
I
4
0 I
4
S R G R | S R | S R G M ||
R G M G | R G | R G M P ||
G M P M | G M | G M P D ||
M P D P | M P | M P D N ||
P D N D | P D | P D N ? ||
? N D N | ? N | ? N D P ||
N D P D | N D | N D P M ||
D P M P | D P | D P M G ||
P M G M | P M | P M G R ||
M G R G | M G | M G R S ||
Dhruv a Tala
75  |  Ragas and Talas/Taal
0 I
4
S R | S R G M ||
R G | R G M P ||
G M | G M P D ||
M P | M P D N ||
P D | P D N ? ||
? N | ? N D P ||
N D | N D P M ||
D P | D P M G ||
P M | P M G R ||
M G | M G R S ||
Rupaka Tala 
A swarajati is a very old musical form in Carnatic 
Music comprising swaras and 
sometimes lyrics. Usually, it has 
three parts — pallavi (refrain or 
chorus), anupallavi (small section 
after the pallavi) and one or 
more charanams (verses).
DO YOU 
KNOW?
 As you can see, all these alankaras are built on 
patterns. Can you try making your own patterns of 
sargams or notes as vocal exercises?
 Now let us sing a swarajati.
 Before singing this composition, sing the Arohana 
and the Avarohana. Try keeping tala as you sing the 
composition. Adi Tala is a rhythm cycle of 8 beats. 
Carnatic vocalist Aruna Sairam at a concert
76  |  KRITI
RA RA VENU
Ragam: Bilahari
Talam: Adi |
Language: Telugu
Composer: Patnam Subramania Iyer
Arohanam: S R
2
 G
3
 P D
2
 ?
Avrohanam: ? N
3
 D
2
 P M
1
 G
3
 R
2
 S
Pallavi
S , , R G , P , D , ? , N , D , |
Ra Ra Ve Nu Go Pa ba la |
P , D P M G R S  | R S ? ? S , , , |  |
Ra ji ta Sa d gu na | Ja ya sh ee la |  |
Anupallavi
S , , R G , P , M , , G P , D , |
Sa ra sa ksha Ne re me mi |
? , , ? N , , D | P , , M G , , R |  |
Ma ru ba ri Ko rva le Ra |  | (Ra Ra)
Charanam
1. G P D ? ? ? ? , G G G , ? ? ? , |
Na Na Vi lu tu ni Ga r va ma dan chi Sa da |
P P P , M G G , | R S S , R S ? ? | |
Na nu Ni ya da pa i | Da ya to Po du ku ra | | (Ra Ra)
Page 5


????? ????? ? ???????? ? ?? ? ??????????? ? ??????????? ???
????? ? ?? ? ????????? ? ?? ? ???? ??? ??? ??? ? ??? ?????
– ?? ????????????,?28/23
?ha?jashcha ?i?habhash chaiva Gandharo Madhyamas tatha.
Pañchamo Dhaivatash chaiva saptamo'tha Ni?hadavan. |21|
Natya Shastra – 28.21
The seven notes practised during the times of Natyashastra 
are as follows: Sadaj, Rishabh, Gandhar, Madhyam, 
Pancham, Dhaivat and Nishad 
7
Ragas and 
Talas/Taal
Every year, we build on our 
understanding of both styles of 
Indian Classical Music — Carnatic 
and Hindustani. This year, we will 
explore more compositions, Ragas 
and Talas/Taals. See how you can 
draw connections between the 
two styles of classical music, and 
between classical music and other 
styles of music that you listen to. 
The notes of Indian 
Classical Music evolved 
from the ritual chanting of 
the Samaveda. Initially, the Vedas 
were chanted with three notes, namely, 
Udatta (normal or medium tone), Anudatta 
(not raised, or lower note) and Svarita (raised 
pitch or higher). These gradually evolved into 
the seven notes (sapta swara) that we use in 
music.
DO YOU 
KNOW?
Gangubai Hangal
74  |  KRITI
CARNATIC MUSIC
Sapta Tala Alankaras
A popular set of vocal exercises to build vocal strength 
and understand talas is the sapta tala alankaras. 
CARNATIC TALAS
There are seven main talas in Carnatic Music.   
They are:
1. Dhruva 
2. Matya 
3. Rupaka
4. Jhampa
5. Triputa 
6. Ata 
7. Eka
 The three main parts or angas that make up  
a tala are:
1. Laghu (clap and finger counts*):  notated I 
2. Drutam (clap and wave): notated as O
3. Anudrutam (beat): notated as U
Note: There can be different number of beats in a 
laghu, which is known as jathi. For this level, each 
laghu has four beats.
 In this chapter, we will learn to sing the first three 
alankaras and keep tala:
I
4
0 I
4 I
4
S R G M | G R | S R G R | S R G M ||
R G M P | M G | R G M G | R G M P ||
G M P D | P M | G M P M | G M P D ||
M P D N | D P | M P D P | M P D N ||
P D N ? | N D | P D N D | P D N ? ||
? N D P | D N | ? N D N | ? N D P ||
N D P M | P D | N D P D | N D P M ||
D P M G | M P | D P M P | D P M G ||
P M G R | G M | P M G M | P M G R ||
M G R S | R G | M G R G | M G R S ||
Matya Tala
I
4
0 I
4
S R G R | S R | S R G M ||
R G M G | R G | R G M P ||
G M P M | G M | G M P D ||
M P D P | M P | M P D N ||
P D N D | P D | P D N ? ||
? N D N | ? N | ? N D P ||
N D P D | N D | N D P M ||
D P M P | D P | D P M G ||
P M G M | P M | P M G R ||
M G R G | M G | M G R S ||
Dhruv a Tala
75  |  Ragas and Talas/Taal
0 I
4
S R | S R G M ||
R G | R G M P ||
G M | G M P D ||
M P | M P D N ||
P D | P D N ? ||
? N | ? N D P ||
N D | N D P M ||
D P | D P M G ||
P M | P M G R ||
M G | M G R S ||
Rupaka Tala 
A swarajati is a very old musical form in Carnatic 
Music comprising swaras and 
sometimes lyrics. Usually, it has 
three parts — pallavi (refrain or 
chorus), anupallavi (small section 
after the pallavi) and one or 
more charanams (verses).
DO YOU 
KNOW?
 As you can see, all these alankaras are built on 
patterns. Can you try making your own patterns of 
sargams or notes as vocal exercises?
 Now let us sing a swarajati.
 Before singing this composition, sing the Arohana 
and the Avarohana. Try keeping tala as you sing the 
composition. Adi Tala is a rhythm cycle of 8 beats. 
Carnatic vocalist Aruna Sairam at a concert
76  |  KRITI
RA RA VENU
Ragam: Bilahari
Talam: Adi |
Language: Telugu
Composer: Patnam Subramania Iyer
Arohanam: S R
2
 G
3
 P D
2
 ?
Avrohanam: ? N
3
 D
2
 P M
1
 G
3
 R
2
 S
Pallavi
S , , R G , P , D , ? , N , D , |
Ra Ra Ve Nu Go Pa ba la |
P , D P M G R S  | R S ? ? S , , , |  |
Ra ji ta Sa d gu na | Ja ya sh ee la |  |
Anupallavi
S , , R G , P , M , , G P , D , |
Sa ra sa ksha Ne re me mi |
? , , ? N , , D | P , , M G , , R |  |
Ma ru ba ri Ko rva le Ra |  | (Ra Ra)
Charanam
1. G P D ? ? ? ? , G G G , ? ? ? , |
Na Na Vi lu tu ni Ga r va ma dan chi Sa da |
P P P , M G G , | R S S , R S ? ? | |
Na nu Ni ya da pa i | Da ya to Po du ku ra | | (Ra Ra)
77  |  Ragas and Talas/Taal
2. S , , R G , G G , , , , , R G |
Na n da go pa la Ne |
P , , P P , P , | P , , ,  , , D P | |
nen du Po ja  | la Ni | |
? , , ? ? , ? , G ? ? N N D P ,
Vin du Ra Ra Sa da ma la ma  di to 
P D P M G G R , | G P M G R S R G | |
Mu da mu la ra ga na | Ke du ru ga ga ti ya ra | | (Ra Ra)
3. P P P , R R R , G P M G G , , , |  
Pa lu ma Ru nu ga Ra va mu na Nin |  
G P M G M G R S  | R G R S S , , , | |
Da la chi na Pa lu ka vu Na lu gu ku Ra | |
R S ? ? S , , , M G R G P , , , |  
Ka ri va ra da Ma ri ma ri Na |  
D P D ? ? , , , | ? ? N D P M G R | |
ya dh ar amu  Kr o la ra ka ni ka ra mu ga | | (Ra Ra)