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Page 1 Chapter 8 T aal or T alam and Ra ga or Ra gam in Indian Music In Hindustani music’s tala system, the ??rst matra is called sam. DO YOU KNOW Taal in Hindustani Classical Music Keharva Taal Dha Ge Na Ti Na Ka DhinNa X0 Bols Taal signs Matra Matra: 8 Vibhag : 2 Tali: on 1 matra Khali: on 5 matra 23 45 67 8 1 Dadra Taal Dha Dhin Na DhaTuNa X0 Bols Taal signs Matra 23 45 6 1 Matra: 6 Vibhag : 2 Tali: on 1 matra Khali: on 4 matra Objective: Understand the concept of raga and rhythm in North and South Indian classical music. Teen Taal dha dhin dhin dha dha dhin dhin dhadha tin tin ta ta dhin dhin dha X2 03 9 Bols Taal signs Matra 10 23 45 67 8 1111213141516 Matra: 16 Vibhag: 4 Tali: on 1, 5, 13 matra Khali: on 9 matra 2 Music.indd 53 7/19/2024 11:36:18 AM Reprint 2025-26 Page 2 Chapter 8 T aal or T alam and Ra ga or Ra gam in Indian Music In Hindustani music’s tala system, the ??rst matra is called sam. DO YOU KNOW Taal in Hindustani Classical Music Keharva Taal Dha Ge Na Ti Na Ka DhinNa X0 Bols Taal signs Matra Matra: 8 Vibhag : 2 Tali: on 1 matra Khali: on 5 matra 23 45 67 8 1 Dadra Taal Dha Dhin Na DhaTuNa X0 Bols Taal signs Matra 23 45 6 1 Matra: 6 Vibhag : 2 Tali: on 1 matra Khali: on 4 matra Objective: Understand the concept of raga and rhythm in North and South Indian classical music. Teen Taal dha dhin dhin dha dha dhin dhin dhadha tin tin ta ta dhin dhin dha X2 03 9 Bols Taal signs Matra 10 23 45 67 8 1111213141516 Matra: 16 Vibhag: 4 Tali: on 1, 5, 13 matra Khali: on 9 matra 2 Music.indd 53 7/19/2024 11:36:18 AM Reprint 2025-26 Kriti–I | Grade 6 54 Talam in Carnatic Music In Carnatic music, talam is used to keep the beat. Each talam has a ??xed number of beats and is repeated. This is known as talam cycle or avartanam. The parts of a talam are known as angams. The three angams are: Laghu? —?This is a clap followed by counting of ??ngers. It can be 3, 4, 5, 7 or 9 beats. It is represented as | followed by the number of beats (as subscript). When the laghu has three beats, we call it tishra jaati. When the laghu has four beats, we call it chaturashra jaati. When the laghu has ??ve beats, we call it hhanda jaati. When the laghu has seven beats, we call it mishra jaati. When the laghu has nine beats, we call it sankeerna jaati. Dhrutam?—?This is a clap followed by the wave of the hand. It has two beats. It is represented as O. Anudhrutam?—?This is just a clap. It has one beat and is represented as U and it is less used in comparison to the above two. Let us see how the laghu and dhrutam are presented in the form of tala. Rupaka Talam?—?This talam has one dhrutam followed by one laghu. The chaturashra jaati rupaka talam therefore, is a cycle of six beats (4 + 2). It is represented as O | 4 . Adi Talam?—?This talam has one laghu followed by two dhrutams. It is a cycle of eight beats (4 + 2 + 2). It is represented as | 4 O O. DO YOU KNOW Mridangam maestro Sangeetha Kalanidhi and Padma Bhushan awardee, Palghat Mani Iyer , gave his ??rst performance when he was 10 years old. He trained under Thanjavur Sri Vaidyanatha Iyer . Mani Iyer introduced the concept of actively supporting the musical phrases on the mridangam rather than merely providing rhythmic support. He accompanied many leading artistes of his time. His fans also enjoyed his thani avartanams (solos). Many of his students became popular performers. 2 Music.indd 54 7/19/2024 11:36:18 AM Reprint 2025-26 Page 3 Chapter 8 T aal or T alam and Ra ga or Ra gam in Indian Music In Hindustani music’s tala system, the ??rst matra is called sam. DO YOU KNOW Taal in Hindustani Classical Music Keharva Taal Dha Ge Na Ti Na Ka DhinNa X0 Bols Taal signs Matra Matra: 8 Vibhag : 2 Tali: on 1 matra Khali: on 5 matra 23 45 67 8 1 Dadra Taal Dha Dhin Na DhaTuNa X0 Bols Taal signs Matra 23 45 6 1 Matra: 6 Vibhag : 2 Tali: on 1 matra Khali: on 4 matra Objective: Understand the concept of raga and rhythm in North and South Indian classical music. Teen Taal dha dhin dhin dha dha dhin dhin dhadha tin tin ta ta dhin dhin dha X2 03 9 Bols Taal signs Matra 10 23 45 67 8 1111213141516 Matra: 16 Vibhag: 4 Tali: on 1, 5, 13 matra Khali: on 9 matra 2 Music.indd 53 7/19/2024 11:36:18 AM Reprint 2025-26 Kriti–I | Grade 6 54 Talam in Carnatic Music In Carnatic music, talam is used to keep the beat. Each talam has a ??xed number of beats and is repeated. This is known as talam cycle or avartanam. The parts of a talam are known as angams. The three angams are: Laghu? —?This is a clap followed by counting of ??ngers. It can be 3, 4, 5, 7 or 9 beats. It is represented as | followed by the number of beats (as subscript). When the laghu has three beats, we call it tishra jaati. When the laghu has four beats, we call it chaturashra jaati. When the laghu has ??ve beats, we call it hhanda jaati. When the laghu has seven beats, we call it mishra jaati. When the laghu has nine beats, we call it sankeerna jaati. Dhrutam?—?This is a clap followed by the wave of the hand. It has two beats. It is represented as O. Anudhrutam?—?This is just a clap. It has one beat and is represented as U and it is less used in comparison to the above two. Let us see how the laghu and dhrutam are presented in the form of tala. Rupaka Talam?—?This talam has one dhrutam followed by one laghu. The chaturashra jaati rupaka talam therefore, is a cycle of six beats (4 + 2). It is represented as O | 4 . Adi Talam?—?This talam has one laghu followed by two dhrutams. It is a cycle of eight beats (4 + 2 + 2). It is represented as | 4 O O. DO YOU KNOW Mridangam maestro Sangeetha Kalanidhi and Padma Bhushan awardee, Palghat Mani Iyer , gave his ??rst performance when he was 10 years old. He trained under Thanjavur Sri Vaidyanatha Iyer . Mani Iyer introduced the concept of actively supporting the musical phrases on the mridangam rather than merely providing rhythmic support. He accompanied many leading artistes of his time. His fans also enjoyed his thani avartanams (solos). Many of his students became popular performers. 2 Music.indd 54 7/19/2024 11:36:18 AM Reprint 2025-26 Music 55 Ragas in Indian Music There are two di??erent styles of classical music in India?—?Carnatic or South Indian classical music, and Hindustani or North Indian classical music. The swaras in each style have been explained to you in the earlier pages. Carnatic music uses instruments like the veena, violin, ??ute, nadaswaram, mridangam, ghatam, kanjira and morsing. The compositions are usually in Sanskrit, Telugu, Kannada, Malayalam and Tamil language. Hindustani music uses instruments like the tanpura, sitar, sarod, sarangi, santoor, tabla, and pakhawaj. Songs are composed usually in Hindi, Sanskrit, and Brijbhasha. Watch videos to understand about raga and tala. Raga is based on a scale. Every scale has notes (swaras) in ascending (arohana) and descending (avarohana) order. Imagine a staircase made of swaras! The notes in the scale change according to the raga. Notation Scheme When writing the notes in the higher octave (taar saptak), the notes are represented by a dot on top like this, ??. The notes in the lower octave (mandra saptak) are represented by a dot below like this, ?. The notes in the middle octave (madhya saptak) are represented by just the swara like this, S. Jaatis of Raga Let us know another interesting terminology used for a speci??c set of notes in ragas. If a raga has ??ve notes it is known as audav jaati. If a raga has six notes it is known as shadav Jaati. If a raga has seven notes it is known as sampoorna jaati. Interesting Terms Carnatic Music Term Hindustani Music Term Ragam Raga Arohanam Aroha Avarohanam Avaroha Gamakam Gamak Layam Laya 2 Music.indd 55 7/19/2024 11:36:19 AM Reprint 2025-26 Page 4 Chapter 8 T aal or T alam and Ra ga or Ra gam in Indian Music In Hindustani music’s tala system, the ??rst matra is called sam. DO YOU KNOW Taal in Hindustani Classical Music Keharva Taal Dha Ge Na Ti Na Ka DhinNa X0 Bols Taal signs Matra Matra: 8 Vibhag : 2 Tali: on 1 matra Khali: on 5 matra 23 45 67 8 1 Dadra Taal Dha Dhin Na DhaTuNa X0 Bols Taal signs Matra 23 45 6 1 Matra: 6 Vibhag : 2 Tali: on 1 matra Khali: on 4 matra Objective: Understand the concept of raga and rhythm in North and South Indian classical music. Teen Taal dha dhin dhin dha dha dhin dhin dhadha tin tin ta ta dhin dhin dha X2 03 9 Bols Taal signs Matra 10 23 45 67 8 1111213141516 Matra: 16 Vibhag: 4 Tali: on 1, 5, 13 matra Khali: on 9 matra 2 Music.indd 53 7/19/2024 11:36:18 AM Reprint 2025-26 Kriti–I | Grade 6 54 Talam in Carnatic Music In Carnatic music, talam is used to keep the beat. Each talam has a ??xed number of beats and is repeated. This is known as talam cycle or avartanam. The parts of a talam are known as angams. The three angams are: Laghu? —?This is a clap followed by counting of ??ngers. It can be 3, 4, 5, 7 or 9 beats. It is represented as | followed by the number of beats (as subscript). When the laghu has three beats, we call it tishra jaati. When the laghu has four beats, we call it chaturashra jaati. When the laghu has ??ve beats, we call it hhanda jaati. When the laghu has seven beats, we call it mishra jaati. When the laghu has nine beats, we call it sankeerna jaati. Dhrutam?—?This is a clap followed by the wave of the hand. It has two beats. It is represented as O. Anudhrutam?—?This is just a clap. It has one beat and is represented as U and it is less used in comparison to the above two. Let us see how the laghu and dhrutam are presented in the form of tala. Rupaka Talam?—?This talam has one dhrutam followed by one laghu. The chaturashra jaati rupaka talam therefore, is a cycle of six beats (4 + 2). It is represented as O | 4 . Adi Talam?—?This talam has one laghu followed by two dhrutams. It is a cycle of eight beats (4 + 2 + 2). It is represented as | 4 O O. DO YOU KNOW Mridangam maestro Sangeetha Kalanidhi and Padma Bhushan awardee, Palghat Mani Iyer , gave his ??rst performance when he was 10 years old. He trained under Thanjavur Sri Vaidyanatha Iyer . Mani Iyer introduced the concept of actively supporting the musical phrases on the mridangam rather than merely providing rhythmic support. He accompanied many leading artistes of his time. His fans also enjoyed his thani avartanams (solos). Many of his students became popular performers. 2 Music.indd 54 7/19/2024 11:36:18 AM Reprint 2025-26 Music 55 Ragas in Indian Music There are two di??erent styles of classical music in India?—?Carnatic or South Indian classical music, and Hindustani or North Indian classical music. The swaras in each style have been explained to you in the earlier pages. Carnatic music uses instruments like the veena, violin, ??ute, nadaswaram, mridangam, ghatam, kanjira and morsing. The compositions are usually in Sanskrit, Telugu, Kannada, Malayalam and Tamil language. Hindustani music uses instruments like the tanpura, sitar, sarod, sarangi, santoor, tabla, and pakhawaj. Songs are composed usually in Hindi, Sanskrit, and Brijbhasha. Watch videos to understand about raga and tala. Raga is based on a scale. Every scale has notes (swaras) in ascending (arohana) and descending (avarohana) order. Imagine a staircase made of swaras! The notes in the scale change according to the raga. Notation Scheme When writing the notes in the higher octave (taar saptak), the notes are represented by a dot on top like this, ??. The notes in the lower octave (mandra saptak) are represented by a dot below like this, ?. The notes in the middle octave (madhya saptak) are represented by just the swara like this, S. Jaatis of Raga Let us know another interesting terminology used for a speci??c set of notes in ragas. If a raga has ??ve notes it is known as audav jaati. If a raga has six notes it is known as shadav Jaati. If a raga has seven notes it is known as sampoorna jaati. Interesting Terms Carnatic Music Term Hindustani Music Term Ragam Raga Arohanam Aroha Avarohanam Avaroha Gamakam Gamak Layam Laya 2 Music.indd 55 7/19/2024 11:36:19 AM Reprint 2025-26 Kriti–I | Grade 6 56 Activity 1: Raga Bhoop The raga bhoop has the following notes: Aroha/Arohana: S R G P D ?? Avaroha/Avarohana: ?? D P G R S The raga hamsadhwani has the following notes: Aroha/Arohana: S R G P N ?? Avaroha/Avarohana: ?? N P G R S If you decorate a scale by using gamakas (ornamentations), repeating certain notes, and playing special phrases, it can become a raga. Each raga is ornamented with important notes and special phrases. Raga in Sanskrit means something that colours the mind. Every raga evokes certain emotional responses in the mind. This is called rasa. Watch the video on raga and rasa to understand more about ragas and their moods! In Indian classical music, composition refers to the structured arrangement of musical elements such as melody (raga), rhythm (tala), and lyrics (if any). Compositions in Indian classical music are typically called bandish in hindustani classical music and kritis in carnatic classical music. Activity 2: Learn a Swaramalika in Raga Bilawal A composition sung in a sargam (swaras) is called a swarmalika. The swarmalika can be composed using di??erent ragas. Listen to the swaramalika in raga bilawal, set to teentaal. P ? N G D ? ? ? P ? P D M N N ? ? D D P - N - P ? M ? R ? G ? S 5 R G 3 M R 4 G M 2 P G 1 S S 7 R M 6 G P 9 S G 11 S P 8 S G 10 R M 12 ? M 13 ? G 15 S S 14 ? R 16 - - Raga: Bilawal Tala: Teentaal Composer: Traditional Swaramalika Sthayi Antara Aroha:S R G M P D N ? Avaroha: ? N D P M G R S 2 Music.indd 56 7/19/2024 11:37:12 AM Reprint 2025-26 Page 5 Chapter 8 T aal or T alam and Ra ga or Ra gam in Indian Music In Hindustani music’s tala system, the ??rst matra is called sam. DO YOU KNOW Taal in Hindustani Classical Music Keharva Taal Dha Ge Na Ti Na Ka DhinNa X0 Bols Taal signs Matra Matra: 8 Vibhag : 2 Tali: on 1 matra Khali: on 5 matra 23 45 67 8 1 Dadra Taal Dha Dhin Na DhaTuNa X0 Bols Taal signs Matra 23 45 6 1 Matra: 6 Vibhag : 2 Tali: on 1 matra Khali: on 4 matra Objective: Understand the concept of raga and rhythm in North and South Indian classical music. Teen Taal dha dhin dhin dha dha dhin dhin dhadha tin tin ta ta dhin dhin dha X2 03 9 Bols Taal signs Matra 10 23 45 67 8 1111213141516 Matra: 16 Vibhag: 4 Tali: on 1, 5, 13 matra Khali: on 9 matra 2 Music.indd 53 7/19/2024 11:36:18 AM Reprint 2025-26 Kriti–I | Grade 6 54 Talam in Carnatic Music In Carnatic music, talam is used to keep the beat. Each talam has a ??xed number of beats and is repeated. This is known as talam cycle or avartanam. The parts of a talam are known as angams. The three angams are: Laghu? —?This is a clap followed by counting of ??ngers. It can be 3, 4, 5, 7 or 9 beats. It is represented as | followed by the number of beats (as subscript). When the laghu has three beats, we call it tishra jaati. When the laghu has four beats, we call it chaturashra jaati. When the laghu has ??ve beats, we call it hhanda jaati. When the laghu has seven beats, we call it mishra jaati. When the laghu has nine beats, we call it sankeerna jaati. Dhrutam?—?This is a clap followed by the wave of the hand. It has two beats. It is represented as O. Anudhrutam?—?This is just a clap. It has one beat and is represented as U and it is less used in comparison to the above two. Let us see how the laghu and dhrutam are presented in the form of tala. Rupaka Talam?—?This talam has one dhrutam followed by one laghu. The chaturashra jaati rupaka talam therefore, is a cycle of six beats (4 + 2). It is represented as O | 4 . Adi Talam?—?This talam has one laghu followed by two dhrutams. It is a cycle of eight beats (4 + 2 + 2). It is represented as | 4 O O. DO YOU KNOW Mridangam maestro Sangeetha Kalanidhi and Padma Bhushan awardee, Palghat Mani Iyer , gave his ??rst performance when he was 10 years old. He trained under Thanjavur Sri Vaidyanatha Iyer . Mani Iyer introduced the concept of actively supporting the musical phrases on the mridangam rather than merely providing rhythmic support. He accompanied many leading artistes of his time. His fans also enjoyed his thani avartanams (solos). Many of his students became popular performers. 2 Music.indd 54 7/19/2024 11:36:18 AM Reprint 2025-26 Music 55 Ragas in Indian Music There are two di??erent styles of classical music in India?—?Carnatic or South Indian classical music, and Hindustani or North Indian classical music. The swaras in each style have been explained to you in the earlier pages. Carnatic music uses instruments like the veena, violin, ??ute, nadaswaram, mridangam, ghatam, kanjira and morsing. The compositions are usually in Sanskrit, Telugu, Kannada, Malayalam and Tamil language. Hindustani music uses instruments like the tanpura, sitar, sarod, sarangi, santoor, tabla, and pakhawaj. Songs are composed usually in Hindi, Sanskrit, and Brijbhasha. Watch videos to understand about raga and tala. Raga is based on a scale. Every scale has notes (swaras) in ascending (arohana) and descending (avarohana) order. Imagine a staircase made of swaras! The notes in the scale change according to the raga. Notation Scheme When writing the notes in the higher octave (taar saptak), the notes are represented by a dot on top like this, ??. The notes in the lower octave (mandra saptak) are represented by a dot below like this, ?. The notes in the middle octave (madhya saptak) are represented by just the swara like this, S. Jaatis of Raga Let us know another interesting terminology used for a speci??c set of notes in ragas. If a raga has ??ve notes it is known as audav jaati. If a raga has six notes it is known as shadav Jaati. If a raga has seven notes it is known as sampoorna jaati. Interesting Terms Carnatic Music Term Hindustani Music Term Ragam Raga Arohanam Aroha Avarohanam Avaroha Gamakam Gamak Layam Laya 2 Music.indd 55 7/19/2024 11:36:19 AM Reprint 2025-26 Kriti–I | Grade 6 56 Activity 1: Raga Bhoop The raga bhoop has the following notes: Aroha/Arohana: S R G P D ?? Avaroha/Avarohana: ?? D P G R S The raga hamsadhwani has the following notes: Aroha/Arohana: S R G P N ?? Avaroha/Avarohana: ?? N P G R S If you decorate a scale by using gamakas (ornamentations), repeating certain notes, and playing special phrases, it can become a raga. Each raga is ornamented with important notes and special phrases. Raga in Sanskrit means something that colours the mind. Every raga evokes certain emotional responses in the mind. This is called rasa. Watch the video on raga and rasa to understand more about ragas and their moods! In Indian classical music, composition refers to the structured arrangement of musical elements such as melody (raga), rhythm (tala), and lyrics (if any). Compositions in Indian classical music are typically called bandish in hindustani classical music and kritis in carnatic classical music. Activity 2: Learn a Swaramalika in Raga Bilawal A composition sung in a sargam (swaras) is called a swarmalika. The swarmalika can be composed using di??erent ragas. Listen to the swaramalika in raga bilawal, set to teentaal. P ? N G D ? ? ? P ? P D M N N ? ? D D P - N - P ? M ? R ? G ? S 5 R G 3 M R 4 G M 2 P G 1 S S 7 R M 6 G P 9 S G 11 S P 8 S G 10 R M 12 ? M 13 ? G 15 S S 14 ? R 16 - - Raga: Bilawal Tala: Teentaal Composer: Traditional Swaramalika Sthayi Antara Aroha:S R G M P D N ? Avaroha: ? N D P M G R S 2 Music.indd 56 7/19/2024 11:37:12 AM Reprint 2025-26 Music 57 Activity 3: Learn a Bandish in Raga Yaman Watch this video to learn a bandish in Raga Yaman. The aroha or ascending notes in raga yaman are, N R G M D N ?? . The avaroha or descending notes in raga yaman are, ?? N D P M G R S. Note that the M is higher than the regular M that you have sung before. This small shift in one note alters the mood of the song! The song describes Lord Krishna playing the ??ute and the gopikas of Vrindavan dancing to its melody. Raga Yaman Chhota Khayal?—?Kanha Bansuri Sthayi Aaj Bajaaii Kanha Bansuri Moha Layi Sagari Brija Naari Pyari Antara Brindavana Ki Kunja Galina Mei Sanga Brikhabhaana Dulaari Pyari Interesting Term The predominant mood of Raga Yaman is shringar or love. There are many popular ??lm songs composed in this raga! Try and ??nd some popular songs based on this raga. Learn and sing them. P ri - - R - R - G - - - P Aa PM ' ja G Ba R ja S ii ? Ka R nha GM ' Ban P - M ' su P ri - - R - R - G - P Mo M ' ha D la P yi - - M ' Sa M ' ga G ri - - PM ' Bri GR ja R Naa G - R ri S Pya - - S ri 1 X 2345 2 6789 0 10 11 12 13 3 14 15 16 P Aa PM ' ja GR Ba S? ja ? ii ? Ka R nha GM ' Ban P - M ' su Sthayi Taal - Teentaal - - ND Kun N ja ? Ga N li ND na P mei - - - - M ' - Brin DN da ? - ? va ? na ? ki - - - - ND kun N ja ? Ga N li ND na P mei - - - - M ' San D ga M ' Li DN ye ?N - - N Bri ND kha P bha - - R na R Du RG la- PR ri P Aa PM ' ja 1 X 2345 2 6789 0 10 11 12 13 3 14 15 16 - - P Brin -? -da ? - ? va ? na ? ki - - Antara Teen Taal 2 Music.indd 57 7/19/2024 11:37:12 AM Reprint 2025-26Read More
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Study NCERT Textbook: Taal or Talam and Raga or Ragam in Indian Music on the App
Students of Class 6 can study NCERT Textbook: Taal or Talam and Raga or Ragam in Indian Music alongwith tests & analysis from the EduRev app,
which will help them while preparing for their exam. Apart from the NCERT Textbook: Taal or Talam and Raga or Ragam in Indian Music,
students can also utilize the EduRev App for other study materials such as previous year question papers, syllabus, important questions, etc.
The EduRev App will make your learning easier as you can access it from anywhere you want.
The content of NCERT Textbook: Taal or Talam and Raga or Ragam in Indian Music is prepared as per the latest Class 6 syllabus.
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