NCERT Class 9 Arts Chapter 8 Rāga and Tāla

NCERT Class 9 Arts Chapter 8 Rāga and Tāla Solutions English Medium As Per New Syllabus. to each chapter is provided in the list so that you can easily browse through different chapters NCERT Class 9 Arts Chapter 8 Rāga and Tāla Notes and select need one. NCERT Class 9 Arts Chapter 8 Rāga and Tāla Question Answers Download PDF. NCERT Class 9 Arts Madhurima Texbook Solutions.

NCERT Class 9 Arts Chapter 8 Rāga and Tāla

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Rāga and Tāla

Chapter: 8

TEXTUAL SOLUTIONS

Activity 8.1

1. Write any Auḍava Rāga scale ……………

Ans: An Auḍava scale consists of 5 notes. You can write the scale for Bhūpālī (S R G P D S) or Haṁsadhvani (S R G P N S).

2. Write any Ṣhāḍava Rāga scale ……………

Ans: A Ṣhāḍava scale consists of 6 notes. You can write the scale for Gurjarī Todī (S R G M D N S) or Śhrīrañjanī (S R G M D N S).

3. Write any Auḍava-Ṣhāḍava scale …………..

Ans: This classification means the rāga has an Auḍava (5-note) ārohaṇa (ascending scale) and a Ṣhāḍava (6-note) avarohaṇa (descending scale). 

While the text does not name a specific rāga for this combination, you can write a scale structure like:

Ascent (5 notes): S R G P D S.

Descent (6 notes): S N D M G R S.

Activity 8.2

Identifying the various bols.

(i) Listen to a recording of the ṭheka being played on the tabla and try and identify its bots.

Ans: To identify the bols (rhythmic syllables) while listening to a ṭheka on the tabla, you can listen for the specific strokes of common tālas outlined in your text. 

For example: 

If it is Teen Tāla (16 beats), listen for: dha dhin dhin dha / dha dhin dhin dha / dha tin tin ta / ta dhin dhin dha.

If it is Jhaptāla (10 beats), listen for: dhee Naa / dhee dhee naa / tee naa / dhee dhee naa.

Activity 8.3

Finding Sam.

(i) Try and follow along the tabla ṭheka of the bandiśh being played in class and identify the sam as you follow the tāla.

(ii) Observe how the artist, in their elaboration, arrives at the sam in different ways.

Ans: As you follow the tabla ṭheka, you can identify the sam by listening for the first and most important beat of a tāla cycle. In musical notation, the sam is usually marked with an “X”. You can find it by clapping or tapping strongly on the very first beat of the repeating rhythmic cycle.

Activity 8.4

Listening to a song and identifying the tāla pattern.

(i) As you listen to the song, first react naturally to the beat by tapping your feet, clapping your hand, etc.

(ii) Now, try and find how many beats this tāla cycle has.

Ans: When you tap your feet or clap your hands to the beat, try to count the recurring pattern to find the number of beats in the cycle. Based on the music systems you have learned, you might be counting:

6 beats (Rūpaka Tāla)

8 beats (Ādi Tāla)

10 beats (Jhaptāla)

16 beats (Teen Tāla)

Activity 8.5

Write a lyric to tāla.

1. Tāla is used to arrange svaras and lyrics into definite patterns in a song. Fill in the lyrics in any language to fit the below tāla cycles with one syllable per beat and then recite it.

Teen Tāla (Hindustani):

Mātrā	1 2 3 4	5 6 7 8	9 10 11 12	13 14 15 16
Example	Once – upona	Time therelived a	Littlegirl who	Liked to singsongs
Your lyric

Rūpaka Tāla (Carnatic):

Mātrā	1 2	3 4 5 6	1 2	3 4 5 6
Example	Ra ma	Ja ya ra ma	Krish-na	Ha re Krish na
Your lyric

You can use any words in the rhythm, for example, Tvameva Mātā Pitā Tvameva.

Ans: Here is an example of how you can fill in original lyrics to fit the tāla cycles, using one syllable per beat:

Teen Tāla (Hindustani) – 16 Mātrās.

1 2 3 4: I love to read.

5 6 7 8: books a-bout the.

9 10 11 12: rā-gas and the.

13 14 15 16: tā-las all day.

Rūpaka Tāla (Carnatic) – 6 Mātrās.

1 2: Mu-sic.

3 4 5 6: brings me end-less joy.

(Alternatively, you can use the Sanskrit phrase suggested in the sources broken across the Rūpaka beats:)

1 2: Tva-me.

3 4 5 6: va Ma-ta Pi-ta.

Activity 8.6

Fitting your song to tāla.

(i) Go back to the song you created in Chapter 6 Activity 6.7 (My family tradition).

(ii) Does your song naturally fall into a tāla or rhythm pattern?

Ans: When I tap my foot while singing, my song naturally groups into sets of 4 and 8 beats. This means it fits well into an 8-beat cycle like Ādi Tāla, or it could be expanded into a 16-beat cycle like Teen Tāla. (To answer this for yourself, try clapping along to your song and counting the beats to see if they group into 6, 8, 10, or 16).

(iii) How will you modify it (by speeding it up, slowing it down, elongating or compressing a syllable, or adding or removing a word) to fit it to a specific rhythm pattern?

Ans: To make my lyrics fit perfectly into the tāla cycle, I can modify the song by speeding it up or slowing it down, elongating or compressing certain syllables, or adding or removing words. For example, if my line only has 7 syllables but the beat cycle has 8, I will elongate the final syllable to stretch across the last two beats so that it ends perfectly on the sam (the first beat) of the next cycle.

(iv) Try singing or reciting your song while keeping a tāla/ steady beat. How does this change the feel of your song?

Ans: Singing the song to a steady tāla completely changes its feel by providing structure and definition to the melody. Instead of sounding like spoken prose or a story, the steady rhythm transforms the words into proper, rhythmic song lyrics.

EXERCISES

1. Explain the following in one line:

(i) Ṣhāḍava-saṁpūrṇa. 

Ans: This refers to a rāga classification that has 6 notes in its ārohaṇa (ascending scale) and 7 notes in its avarohaṇa (descending scale).

(ii) Vibhāg.

Ans: A vibhāg is a division or a specific group of beats within a tāla (rhythmic cycle).

(iii) Jātis in Hindustani Music.

Ans: Rāga-jāti is a classification system that groups rāgas based on the number of notes (svaras) they use in their ascending and descending scales.

2. If a rāga has 6 svaras in the ārohaṇa and 6 in the avarohaṇa, what is the jāti of the rāga. Give an example from the rāgas you have learnt.

Ans: If a rāga has 6 notes in both its ascent and descent, its jāti is Ṣhāḍava-Ṣhāḍava (often simply referred to as Ṣhāḍava). An example of a Ṣhāḍava rāga is the Hindustani rāga Gurjarī Todī (S R G M D N S) or the Carnatic rāga Śhrīrañjanī (S R G M D N S).

3. Which are achala-svaras/ prakṛiti-svaras and chala-svaras/ vikṛiti-svaras? Explain with examples.

Ans: Achala-svaras / Prakṛiti-svaras: These are invariant notes that are fixed and do not have higher or lower versions. There are only two invariant notes: S (Ṣhaḍja) and P (Pañchama).

Chala-svaras / Vikṛiti-svaras: These are notes that have higher and lower variants (note positions). The remaining 5 notes—R (Ṛiṣhabha), G (Gāndhāra), M (Madhyama), D (Dhaivata), and N (Niṣhāda)—are all chala-svaras. For example, in Hindustani music, the note Ṛiṣhabha (R) can be played as a lower Komala variant or a higher Śhuddha variant.