Chapter-3

TREATISES
I. SANGEET RATNAKAR
SANGEET RATNAKAR is an ancient and famous indian
by Pandit Sharang Dev in the 13th granth. This granth was written
were from Kashmir who
century. Pandit ji was born after 1210. His ancestors
later settled in Devgiri
officer in the royal courts and his (Daultabad). His father was a high ranked
education was done properly. Pandit ji
devtas (deity) and travelled various worshipped various
places. After that he created Sangeet Ratnakar.
This granth is the basis of
northern and southern music
into 7 chapters in which the
definitions of
methodology. It has been divided
(dance) has been given and some more gayan (vocal), vaadan (instruments) and
concepts are also discussed. However Pandit nritya
followed Bharat and have given more details
than ji has
Murchhna, Saarna Chatushtyi, Matang Gram's
talent reflects in Muni. Pandit ji's Originalty and
Swaras. Madhyam end and various Vikrit
In Sangeet Ratnakar, Naad, Shruti, Swara, Gram,
defined very well. Murchhna, Jaati all have been
It's seven,
parts are: 1. Swara
adhyaaye 4. Prabandha adhyaaye adhyaaye
5. Tala
2. Raga Viveka
adhyaaye 3. Prakeern
adbyaaye. adhyaaye 6. Vadya
adhyaaye 7. Nritya
(1) SWARA ADHYAAYE In this
and its varieties. He has also : part pandit ji has described
described gram, alankara and varna.naad, discussed its origin
Saarna Chatushtayi on Veena in 21 taar (strings) bandh is also Moreover, the usage of
1. Naad :
According to Pandit ji, that musical voice whichgiven.
(vibration) constant and stable is called naad. It is has its
andolan sankhva
means the combination originated from nakaar and
of vaayu (air) and agni (fre). It has two dakaar whia
anahat naad. types: ahat naad and
2. Shruti: It is said that shruti is
and clearly. Pandit ji has said these arethat
dhwani (sound) which can be listened distinas
22 in numbers they are
ratio i.e. 4:3:2:4:4:3:2. divided on the basis e
his
3. Swara : According to
Pandit ji Ranjak naad itselt is called swara.
shudh and 12 vikrit swara. He haso
given 7
4. Gram : According to Pandit ji, a swara combination which is base of
murch
called gram. It has 3 types 1. Shadaj gram 2. Madhyam gram 3. Gandhar gram, chhnas is
 Murchhna : Pandit ji believes that the serial wise
aroha-avroha of all seven swaras is
called murchhna. Shadaj and madhyam gram have 7-7 murchhnas.
calle

6.Varna : According to Pandit Ji, the act of singing is called

Sthayi varna 2. Aarohi varna 3. Avrohi varna 4. Sanchari varna.
varna. It has four types

1. Alankar : According to Pandit ji,

specific group of varna are called alankaar.
a

Alankar is used in singing, instrumental (vaadan) and it improves the melody and improves the
knowledge of correct positions of swaras.

8. Thaat : According toPandit ji, shudh thaat is Kaafi but in the modern
time, thaat
Bilawal is considered as shudh thaat.
(2) RAAG VIVEKA ADHYAAYE : In this segment Pandit ji has divided all ragas into
10parts:
1. Gram raga 2. Raga 3. Up
4. Bhasha raga 5. Vibhasha 6. Antar bhasha
7. Ragang 8. Bhashang 9. Upaang 10. Kriyaang.

These all parts are named as Das Vidhi Raga Vargikaran'. Moreover, Stri (Female) and
Purush (Male) raga division is also into use.
1 . Number of gram ragas are considered to be 30.
2. Number of ragas are considered to be 20.

Number of upragas are considered to be 08.

4. Number of bhasha are considered to be 96.

5. Number of Vibhasha are considered to be 20

6. Number of antarbhasha are considered to be 04.
. Number of ragang are considered to be 08.

8. Number of bhashang are considered to be 21.

9. Number of upaang are considered to be 03.

I0. Number of kriyaang are considered to be l2.

rRAREERN ADHYAAYE In this segment Pandit ji has discussed the 28 guns

and tlaws
udnties/lhabits) of Vaggeyakar. Apart from this he also mentioned the qualities
create words and swaras
gers. Pandit ji has referred a singer as Vaggyekar who does chhand,
ras, alankar,
e k a r has various qualities like information of vyakran,
aya, tala, swara and fast kavitt
(Poetry).
the heading of prabandh,
PRABANDHA ADHYAAYE : In this segment, under
deshi music, ma anibadh
oopkalaap etc. are
singing, ragalaap, roopkalaap
KnlaSi, maargi music, nibadh
explained.
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 1. Deshi Music: The music which we usually listen, which entertains us and is Wara
prominent is called deshi sangeet or musie.
2. Maargi Music: The music which wAs Uscd by people of gandharv, and they used it
for salvation and for God worshipping
3. Nibadh and Anibadh Gaan (singing) : The compositions which are bounded by tala
are called nibadh and which are not bounded by tala are called anibadh gaan.
4. Ragalaap : While doing alap of a raga, when 10 lakshans were used, that was called

ragalaap.
5. Roopkalaap : After doing ragalap, roopkalap is done. This alap is superior to ragalaap
This is divided into various parts and is sung putting all parts together. In this type of alap
words are not used.

) TALA ADHYAAYE : In this segment, Pandit ji divided tala into 2 types :

2. Deshi.
1.Marg
Chanchtaput, Sampkweshtak, Chhatpitaputrak and Chachpur Prabhuti are Marg talas which
were used in Marg Sangeet.
There are by Pandit ji.
120 Deshi talas mentioned
6) VAADYA ADHYAAYE : In this segment Pandit ji has divided all the vaadyas
(instruments) into four categories.
1. Tatt vaadya 2. Sushir vaadya 3. Avnad vaadya 4. Ghann vaadya.
Pandit ji has also mentioned the qualities and defects of instrument players.
1. Tatt Vaadya : The instruments which has strings are called tatt vaadya like Sitar,
Guitar, Sarangi and Veena etc.

instruments which in the air in them, those

played by filling
2. Sushir Vaadya : The are

instruments are called Sushir Vaadya like Flute, Shchnai and Shankh etc.

The instruments in which leather is used, those are called Avnad

3. Avnad Vaadya :

Vaadya like Dholak, Tabla, Dhol, Damru, Nagara etc.

are known
4. Ghann Vaadya: The instruments which are made from some kind of metals
Palet Tarang etc.
as Ghann Vaadya like Ghanti (bell), Manjira, Jhaanjh, Khadtaal, Nal Tarang,

(7) NRITYA ADHYAAYE: In this segment dance and theatre is discussed. Sangeet
(music) is an important element of theatre.
In theatre, besides acting, dancing singing and
instrumental are also discussed.

In the end, Pandit ji says that like a

river which merges into ocean and attains salvation, in
he put into this granth and devoted to all.
the same way, all the knowledge he had,
is contribution done by Pandit Sharang Dev Ji.
Sangeet Ratnakar a great