Hindustani and Western comparison · Lesson 9 of 10 · Notation and practice
Notation and listening practice
Write a short phrase two ways, then practise by ear and by hand. The phrases come from NIOS; the exercises use Ragapedia's taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary counter.
- Strong:
- a shared feature you can count or measure
- Qualified:
- a useful analogy with clear differences
- Context:
- a contrast that teaches, not an equivalence
Count along
A matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary is one beat in the cycle. LayaLayaThe pace of musical time. Vilambit, madhya and drut describe slow, medium and fast laya relative to the performance context, not fixed universal speeds.Source: N3 §3.3.3, p. 23 (tempo definition; fixed doubling contradicts the corrected relative categories). and 2 moreMore in the glossary is its speed, shown here as matrasMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary per minute. Press play to follow the claps, wave on khaliKhaliA wave-marked position or division in a taal’s hand-counting pattern. Khali is shown with 0 in Bhatkhande notation; it does not require silence.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary, and return to sam. The sounds are counting clicks.
Stopped
X · clap (taali) · sam
- 1Dha
- 2Dhin
- 3Dhin
- 4Dha
2 · clap (taali)
- 5Dha
- 6Dhin
- 7Dhin
- 8Dha
0 · wave (khali)
- 9Dha
- 10Tin
- 11Tin
- 12Ta
3 · clap (taali)
- 13Ta
- 14Dhin
- 15Dhin
- 16Dha
Topic 36 · Fit: Strong
Sargam, Bhatkhande notationBhatkhande notationA Hindustani notation system using swara names and marks for altered notes, register, duration and taal positions.Source: N5 §5.3, pp. 35–36 (pitch, octave and duration symbols); §5.3, p. 36 (cycle symbols). and 1 moreMore in the glossary and staff notationStaffFive lines and the spaces between them on which pitches are written. A clef establishes which note names those positions represent.Source: AB G1 §3; G4 §2.More in the glossary
Learning objective: Read the Bhatkhande signs for komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary, tivraTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary, octave, duration and taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary, and match them with Western staff notationStaffFive lines and the spaces between them on which pitches are written. A clef establishes which note names those positions represent.Source: AB G1 §3; G4 §2.More in the glossary.
Bhatkhande notationBhatkhande notationA Hindustani notation system using swara names and marks for altered notes, register, duration and taal positions.Source: N5 §5.3, pp. 35–36 (pitch, octave and duration symbols); §5.3, p. 36 (cycle symbols). and 1 moreMore in the glossary writes swarasSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary as sargam syllables. A line under a swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary makes it komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary, and a vertical line above Ma makes it tivraTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. A dot below a swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary puts it in the lower octave (mandra saptak), and a dot above puts it in the upper octave (taar saptak). A dash after a swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary holds it for another matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary. In the taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary line, × marks sam, 0 marks khaliKhaliA wave-marked position or division in a taal’s hand-counting pattern. Khali is shown with 0 in Bhatkhande notation; it does not require silence.Source: N3 §§3.3.7–3.3.9, p. 24. and 1 moreMore in the glossary and numbers mark the other claps.
Western staff notationStaffFive lines and the spaces between them on which pitches are written. A clef establishes which note names those positions represent.Source: AB G1 §3; G4 §2.More in the glossary shows pitch by a note's place on the staff and its clefClefA sign that assigns pitches to a staff’s lines and spaces. Different clefs make different pitch ranges easier to write and read.Source: AB G1 §3; G4 §2.More in the glossary, raises or lowers notes with accidentalsAccidentalA sharp, flat or natural sign that alters a written note. Accidentals specify pitch changes within the rules of the notation.Source: AB G1 §3; G4 §2.More in the glossary, and shows duration by the shape of the note. ABRSM and Trinity teach these from Grade 1.
Below is one practice phrase from NIOS, an alankarAlankarA repeating note pattern practised through ascending and descending positions. Such exercises help build control of the voice or instrument.Source: N1 §1.10, p. 8. and 1 moreMore in the glossary, written in sargam and as Western letter names with Sa on C4 (middle C). Because the line climbs, its last Sa is the Sa an octave above.
| Sargam | Sa Re Ga | Re Ga Ma | Ga Ma Pa | Ma Pa Dha | Pa Dha Ni | Dha Ni Ṡa |
|---|---|---|---|---|---|---|
| Sa = C4 | C4 D4 E4 | D4 E4 F4 | E4 F4 G4 | F4 G4 A4 | G4 A4 B4 | A4 B4 C5 |
NIOS gives pitches only, so the table and the staff show pitch and octave but no rhythm: the staff uses note heads without stems or bar lines. The dotted Ṡa is the upper Sa. The letter names and the staff are Ragapedia's transcription with Sa on middle C, not part of the NIOS text.
Source: NIOS, Hindustani Music (242), Book 1, ch. 1: Introduction of Hindustani Music, §1.10, p. 8
| Sargam | Ṡa Ni Dha | Ni Dha Pa | Dha Pa Ma | Pa Ma Ga | Ma Ga Re | Ga Re Sa |
|---|---|---|---|---|---|---|
| Sa = C4 | C5 B4 A4 | B4 A4 G4 | A4 G4 F4 | G4 F4 E4 | F4 E4 D4 | E4 D4 C4 |
The descent starts from the upper Sa reached by the ascent and returns to middle Sa.
Source: NIOS, Hindustani Music (242), Book 1, ch. 1: Introduction of Hindustani Music, §1.10, p. 8
Where the comparison stops
Some signs translate one for one, such as komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and E♭ when Sa is C. Neither system captures a full performance: NIOS notes that much of the fine use of notes and rhythm can only be taught by singing or playing.
Sources
- NIOS, Hindustani Music (242), Book 1, ch. 5: Notation System of Hindustani Music, §5.2, p. 34; §5.3, pp. 35–36
- NIOS, Hindustani Music (242), Book 1, ch. 1: Introduction of Hindustani Music, §1.10, p. 8
- ABRSM, Music Theory Syllabus Outline, Grades 1–5 (from 2020), Grade 1 §§1–3
- Trinity College London, Theory of Music Syllabus, Grades 1–8, from 2009 (online edition April 2026), Grade 1, pp. 13–14
Topic 37 · Fit: Qualified
Riyaaz and ear training
Learning objective: Practise the way students do in both traditions: patterns by ear and by hand, and phrases written from listening.
NIOS presents alankarsAlankarA repeating note pattern practised through ascending and descending positions. Such exercises help build control of the voice or instrument.Source: N1 §1.10, p. 8. and 1 moreMore in the glossary, also called paltasAlankarA repeating note pattern practised through ascending and descending positions. Such exercises help build control of the voice or instrument.Source: N1 §1.10, p. 8. and 1 moreMore in the glossary, as patterned practice: a group of notes is repeated from each next note going up, and the same pattern comes back down. It says this practice prepares the voice or hand and improves knowledge of the notes.
Rao and Rao describe swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary pitch in performance as flexible, so practise with your ear and not only with a keyboard.
Western ear training pairs sight-singing, singing from notation, with dictation, writing down music you hear.
Exercises
- Clap Teentaal with the counter above. Choose Teentaal and press play. Clap on matrasMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary 1, 5 and 13 and wave on matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary 9: NIOS marks these × (sam), 2, 0 (khali) and 3.
- Recite the thekaThekaA basic pattern of percussion bols that helps identify a taal. The pattern supports accompaniment and can be elaborated.Source: N3 §§3.3.4–3.3.5, p. 23. and 1 moreMore in the glossary as you clap: Dha Dhin Dhin Dha, Dha Dhin Dhin Dha, Dha Tin Tin Ta, Ta Dhin Dhin Dha.
- Switch the counter to Rupak and notice that its first matraMatraOne unit of time within a taal. Matras locate beats and rhythmic events inside the cycle; their duration depends on the tempo.Source: N3 §3.3.2, pp. 22–23.More in the glossary is shown with a wave, not a clap.
- Sing the alankarAlankarA repeating note pattern practised through ascending and descending positions. Such exercises help build control of the voice or instrument.Source: N1 §1.10, p. 8. and 1 moreMore in the glossary in the table above slowly in sargam, then in letter names. Keep each group of three at the same speed.
- Dictation: ask a teacher or a friend to sing one group of the alankarAlankarA repeating note pattern practised through ascending and descending positions. Such exercises help build control of the voice or instrument.Source: N1 §1.10, p. 8. and 1 moreMore in the glossary. Write it down in sargam, then in letter names with Sa on C.
Where the comparison stops
These are practice steps, not a test of mastery. None of these sources shows that an app exercise teaches a raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary; listening and a teacher's correction remain at the centre of riyaaz.
Sources
- NIOS, Hindustani Music (242), Book 1, ch. 1: Introduction of Hindustani Music, §1.10, p. 8
- NIOS, Hindustani Music (242), Book 1, ch. 3: Elements of Tala, §3.3.1, p. 22; §3.3.7, p. 24
- Suvarnalata Rao and Preeti Rao (2014), An Overview of Hindustani Music in the Context of Computational Musicology (author's manuscript), §3.2, PDF p. 3
- Brady, Hamm and Shaffer, Open Music Theory: The Basics of Sight-Singing and Dictation, practice guidance; “Strategies for Dictation”: “Melodic Dictation”
Related pages
Ragapedia wrote these comparisons by combining separately cited Hindustani and Western sources. No source institution has endorsed them, and a musician has not reviewed this lesson.