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c. Shruti
There are innumerable naads and it is difficult to tell the difference just by
listening to them. In order to use naads in music, it is necessary to recognise
them by listening to them and identify its definite level. Shruti is the sound
which is perceived (heard) by the ears and the distance between them is
clear. In other words, the sound which is capable of being used in music and
which can be distinctly identified by the ear is called ‘Shruti’. There are 22
such shrutis in the music-scriptures.

d. Notes (Swara)
Out of the 22 shrutis in music, as mentioned in the scriptures, only the 7
main shrutis are actually called notes. Notes are named as Sa, Re, G, M, Pa,
Dha, and Ni. Music is created by combining these seven notes. They are
collectively called ‘sargam’.

e. Count (matra)
The small unit of a taal is called a count or matra. Numbers are given to
indicate matra, such as: 1,2,3,4

f. Bar (Bibhag)
Bibhag represents duration of rhythmic phrasing within a taal in music.
It is made up of a certain number of beats. They are represented by small
vertical bars ( | ) music.

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g. Sama

The first count or matra of the taal of music, from which the taal begins and
ends is called sama. Sama is the first clap of the rhythm. To denote this, a
cross sign (x) is used.

h. Beat (taali: x) and Wave (Khali: 0)

Tali and khali can also refer to strokes, or sections, of music compositions. In
taali, there is a clap with the note. Considering the sama as the first clap of
the rhythm, the rest of the clap is followed by 2, 3, 4 respectively. To indicate
this, the same number is given as the clap, for example: 2, 3, 4 are written
after the first clap. Where only gestures are made without clapping, it is
called khali. Zero (0) is given to denote it.

12.2 Singing

Singing is a universal
language. It is a way of
human self-expression.
It is a way in which you
can show your emotion,
idea, feeling, enjoyment
and satisfaction. The
songs incorporate many
aspects of cultural or
social identity, including
nationalism, political
affiliation and religious
beliefs. Singing is used
to express any feelings,
theme, events or experiences of interpersonal matters, nation, nationality,
religion, rites, culture, festivals, customs, ethnic traits, or various human
activities.

Singing is the expression of the feelings and experiences of various moments
of happiness or sorrow in group works, everyday tasks, ups and downs,
reunion, separation, love, emotions, patriotism, and the emotional feelings

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that arise in the mind. Singing is an art that can be expressed barely with the
voice or sound in rhythmic manner with or without music. A person who
sings is called a singer. We can sing in a group or alone. There are various
types of songs. Some of them are folk songs, classical songs, modern songs,
class songs, national songs etc.
a. Singing Classroom Song: 7
The classroom song for class
seven can be sung by playing
the melody in Khyali taal with
the drums and tabla in Kaharwa
taal. Its scale is F Major (FAC) in
which F Major chords are closely
related to other chords Bb Major
(BbDF) and C Major (CEG) are
also used.

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Scale: F, Taal: Kahrawa (2/4)

b. Local songs and Patriotic Songs
Local song is a song that originates among the people of a country or

area and passed by oral tradition from one singer or generation to the
next generation. Local songs are often existing in several versions, and
marked generally by simple melody, stanza, and narrative verse. Some
of the local songs like Hakpare (in the eastern part of Nepal), Deuda
in Doti and Hor, Salhes, Karikh and Jhijhiya in Mithila, Asare song,
and Malashree song are common examples of this category of songs in
Nepal.
i. Malashree song/tune
Malashree dhun or tune is one of the oldest surviving devotional
musics of Nepal. It is the tune that announces that Dashain, the biggest

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Hindu festival of Nepal, has arrived. It is believed to have originated
in the 17th century. The Malashree dhun originally belongs to the
Newari culture from the Kathmandu valley. It is a folk music of Newari
culture which later on got amalgamated with the large Nepali culture.
Nowadays it has become a traditional music that symbolises the arrival
of Dashain festival with the praising words for Devi and Bhairabi
during nawaratra / dashahara in Nepal.
Malashree Lyrics
Jay Devi Bhairabi Gorakhnath
Darshana deu Bhawani he,
Pratham Devi utpanna bhai he,
Janma liyen Kailash he,
Aau Devi pau chham chham,
Chausatthi Yogini saatha he.
Scale: Cm, Taal: Kahrawa (2/4)
Notation of Malashree tune
Activity
With the music of tabala and the above-mentioned musical notation,
practise Malashree singing with the help of your music instructor.

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ii. Asare Song
Asare songs are popular during the rainy seasons when farmers sow the

paddy plants on their fields. It is sung in a group of people (workers in
the paddy-field) at the time of sowing paddy during the rainy season.
It is very popular and it has its own identity and importance in Nepali
original song music.
Lyrics of Asare song
Scale: Am, Taal: Kahrawa / Selo (2/4)
Musical notation
Activity
With the music of tabala or harmonium and the above-mentioned
musical notation, practise Asare song with the help of your music
instructor.

iii. Patriotic song/ National song
A patriotic song is a song with strong patriotic content. They enhance

the values like patriotism, unity, peace and liberty, hard work and
service to all. The patriotic or national song acknowledges the National
supremacy as the source of all power. National anthems are also
patriotic songs. They help in retaining unity among people of a country
with the respect and glory of the motherland. Here is an example of a
Nepali patriotic song written by Bhupi Sherchan, music given by Nati
Kazi, and sung by Premdhwaj Pradhan and Tara Devi.

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The song: Yo Nepali

Activity
With the music of tabala or harmonium and the below-mentioned musical
notation, practise the national song with the help of your music instructor.
Scale : Am, Taal : Kahrawa / Selo (2/4)
Musical notation

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12.3 Playing Harmonium and Keyboard

Musical notations are very important in learning the musical instruments
like harmonium and keyboard. Identification of ‘taal’ is the first requirement
of learning with such instruments in the given song. Taals may be Jhyaure,
Dadra, Kahrawa, Khyali etc. The seven notes or sargam is denoted with C D
E F G A B symbols. The scale is used as F Major (FAC) or C Major (FAC) or
any other appropriate according to the song we choose. In each scale there
is a certain order of using fingers. We can practise these skills with the help
of music teacher and instruments. For example, F Major Scale is composed
of the notes F, G, A, Bb, C, D, E, and F. Learning the proper play of musical
instruments require patience, devotion, and practice in a balanced level.

Activity
With a harmonium or keyboard, practise your favourite taal and music
notations. You can increase your performance quality slowly and grad-
ually over the period of few weeks to months.

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12.4 Practice of Sargam and Alankara

The literal meaning of Alankara, (in Sanskrit language), is the
ornaments or adornments. In music, an Alankara is any pattern of
musical decoration a musician or vocalist creates to add melody in
music. In simple words, an Alankara is a rhythmic and meaningful
combination of musical notes. While practising, we should begin
from lower to higher pitch of music. It helps in playing the musical
instruments appropriately if practised under the proper guidance of
teacher or instructor. There are five basic Alankara. They are sa-sa, re-
re, ga-ga, ma-ma, pa-pa, dha-dha, and ni-ni. There are other complex
Alankaras that we can learn with patient practices.
Activity
Practise the below-given Alankaras with your musical instrument.
Take help of your music instructor or internet-based instructions if
required.

ALANKARAS
1. SA RE GA MA PA DHA NI SA
SA NI DHA PA MA GA RE SA

2. SA SA RE RE GA GA MA MA PA PA DHA DHA NI NI SA SA
SA SA NI NI DHA DHA PA PA MA MA GA GA RE RE SA SA

3. SA RE GA - RE GA MA - GA MA PA - MA PA DHA - PA DHA NI - DHA NI SA -
SA NI DHA - NI DHA PA - DHA PA MA - PA MA GA - MA GA RE - GA RE SA -

4. SA RE GA MA RE GA MA PA GA MA PA DHA MA PA DHA NI PA DHA NI SA
SA NI DHA PA NI DHA PA MA DHA PA MA GA PA MA GA RE MA GA RE SA

5. SA RE SA RE GA - RE GA RE GA MA - GA MA GA MA PA - MA PA MA PA DHA -
PA DHA PA DHA NI - DHA NI DHA NI SA -
SA NI SA NI DHA - NI DHA NI DHA PA - DHA PA DHA PA MA - PA MA PA MA GA -
MA GA MA GA RE - GA RE GA RE SA -

6. SA RE GA SA RE GA MA RE GA MA RE GA MA PA GA MA PA GA MA PA DHA
MA PA DHA MA PA DHA NI PA DHA NI PA DHA NI SA

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SA NI DHA SA NI DHA PA NI DHA PA NI DHA PA MA DHA PA MA DHA PA MA GA
PA MA GA PA MA GA RE MA GA RE MA GA RE SA

7. SA GA - RE MA - GA PA - MA DHA - PA NI - DHA SA -
SA DHA - NI PA - DHA MA - PA GA - MA RE - GA SA -

12.5 Introduction to Taal and practice

Taal is a group of musical notations that can make a unique rhythmic
pattern in music. The taal is a repeating rhythm pattern usually played
by the tabla (small drums). It usually has six and sixteen beats. The
beats are grouped into small sections within the pattern. The first beat
of the cycle is known as sama. Taal of music, thus, gives a framework
for the singing pattern of a song or music. Some of the famous taals in
Nepali music system are Dadra, Kaharwa, Khyali, Jhyaure, Asare etc.

a. Kaharwa taal

It is one of the mostly used taal in Nepali music system. It has eight
matras with two bibhagas altogether. On first beat or matra there is a
taali (Clap) and at 5th matra or beat Khali is shown by moving hand
in the air. The notation of the taal is written according to Bhatkhande
Swarlipi Method.

Kaharwa taal

Matra 12 3 4 56 7 8
Theka/ Bol dha ge na ti na ka dhi na
Taali / Khali x 0


Activity

Practise singing in Kaharwa taal with any one of your favourite songs
composed in this taal. Try to play your available musical instrument
with the help of an expert.

b. Dadra taal

It is also one of the popular taals in Nepali music. It has six matras with
two bibhagas altogether. On first beat or matra there is a taali (Clap)
and at 4th matra or beat Khali is shown by moving hand in the air. The
notation of the taal is given below.

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Dadra taal

Matra 1 2 34 5 6
tu na
Theka/ Bol dha dhi na dha

Taali / Khali x 0

Activity

Practise singing in Dadra taal with the below-given set of Alankaras.
Try to play your available musical instrument with the help of an
expert.

Aaroh : sarega regama gamapa mapadha padhani dhanisa

Avroh : sanidha nidhapa dhapama pamaga magare garesa

Avroh : sagare remaga gapama madhapa pandha dhasani

Avroh : sadhani nipadha dhamapa pagama marega gasare

12.6 Local Instruments

Different types of local / folk musical instruments are played in
different parts of Nepal. Among these instruments, in this lesson, we
will practise playing the Flute (Shushir Baja) and Khanjadi (Taal Baja)
which are more commonly used in Nepali music.

a. Flute

Flute or basuri is one of most common and
popular musical instruments in Nepal. It
is also called basuri because it is made up
of natural bamboo. The flute is also known
as Venu and Vamshi from ancient times.
While making a flute, the inner part of the
bamboo shoot is made smooth by removing
all the nodes and rough surfaces inside the
bamboo. Seven holes are made in a row
at a certain distance that is appropriate
to place the fingertips. Air is blown with
a soft current by mouth through the first
hole, while the remaining holes are closed or opened alternately by
the fingers of both hands to produce different scales and melodies. It

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is often used in Nepali folklore. The flute comes in three sizes: short,
long and medium. The flute is considered as the main instrument of
folk and other music. The flute and Lord Krishna are considered to be
synonymous with each other because of their association explained in
the holy Hindu religious books.

Techniques of practising Sargam on flute

1. In order to play the flute, you have to keep your balance by
blowing air through the air-hole and gradually open the six holes
where the finger moves so that no air escapes.

2. The six holes in the flute are closed and opened alternately using
the three fingers of both left and right hands. The three fingers
of each hand are the ring fingers, the middle fingers and the
forefingers.

3. When all the holes are closed and air is blown out, ‘sa’ note comes
out. When the ring finger, middle finger and forefinger of the left
hand are removed one by one, the remaining notes‘re’, ‘ga’, and
‘ma’ notes are produced.

4. In the same way, when the ring finger, middle finger and forefinger
of the right hand are removed one by one, the remaining notes
‘pa’, ‘dha’, and ‘ni’ notes are produced.

5. In order to play the rest of the strings, the last hole of the sound
should be played by opening it completely and the other holes
should be closed.

6. When played in this way, all the eight tones of the aroh come out
in a straight line, and when it is repeated in the same manner, the
tones of the avroh also come out.

Activity

Practise the below-given Alankaras with your flute (vansi). Take help
of your music instructor or internet-based instructions if required.

1. SA RE GA MA PA DHA NI SA
SA NI DHA PA MA GA RE SA

2. SA SA RE RE GA GA MA MA PA PA DHA DHA NI NI SA SA
SA SA NI NI DHA DHA PA PA MA MA GA GA RE RE SA SA

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3. SA RE GA - RE GA MA - GA MA PA - MA PA DHA - PA DHA NI - DHA NI SA -
SA NI DHA - NI DHA PA - DHA PA MA - PA MA GA - MA GA RE - GA RE SA -

4. SA RE GA MA RE GA MA PA GA MA PA DHA MA PA DHA NI PA DHA NI SA
SA NI DHA PA NI DHA PA MA DHA PA MA GA PA MA GA RE MA GA RE SA

b. Khaijadi
“Khaijadi” is a traditional

musical instrument of
Nepal made by wood and
skin of iguanas (a kind of
lizard). The instrument is
used by different ethnic
groups of Nepal in special
dances and occasions.
Khanjadi is a rhythm-
based musical instrument.
This instrument, which is
commonly available in our village areas, is mostly used or played in
various festivals and celebrations. It is especially used in folk songs.
Method of making Khaijadi
Normally, for making Khaijadi, a cylindrical wooden log is taken and
the central part is removed to make it a big ring like structure. It’s one
side is covered with animal skin and the other side is left open. The skin
is fixed on the wood with the help of small bamboo logs. Nowadays
Khaijadi is also made with metals. It is especially preferred in Jhyaure
and Khyali rhythms with six and eight matras.
Activity
Practise Khaijadi in Jhyaure and Khali taal with the notes given below.

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Exercise

A. Write ‘T’ for true and ‘F’ for false statements.
1. Singing is also an art.
2. Naad is musical and noise is non-musical.
3. Musical sound which has high volume is called small naad.
4. Sama is the first clap of the rhythm
5. Khali is denoted with x sign.
6. Malashree tune symbolises the new year and holidays.
7. The national songs carry message of love and affairs.
8. Alankara is a combination of notes.
9. Kaharwa taal has eight matras.
10. There is no clap or khali on the 4th matra of Dadra taal.

B. Match the followings
Chhota naad • Hertz unit

Timbre • Related to hearing

Pitch • Low volume

Shruti • Sargam

Notes • Distinguish the source of sound

C. Answer the following questions.

a. Why is singing regarded as a form of art?

b. What is magnitude of naad?

c. Write short notes on:

i. Bibhag ii. Sama iii. Taali iv. Khali

d. Why is singing a universal language? Justify with an example.

e. Differentiate between local and patriotic songs.

f. Draw a neat and clean diagram of flute.

g. Write a short introduction to Asare song

h. Write an example of national song.

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13 Dancing and Acting

13.1 Dance

Every person on the earth possesses a hobby they like to enjoy with and
pass their free time. Many people have dancing as their favourite hobby
and they like to dance whenever it is possible. People love dancing on
various types of music and songs as per their preference, culture, and
circumstances.
The movement of feet and body in the rhythm of a song or music in a
pleasing way is dance. It is a learned cultural practice. Societies create
dances. A culture of specific society is embodied in the forms of special
practices that develop in the form of dance. Dance is often presented as a
universal cultural phenomenon that is so basic to human nature that every
human being can relate to it.
Nepali dances are very important in our life, culture, and tradition. They
are also a good source of entertainment as well as effective refreshers. The
complement of dance is song and music.

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Types of Dance

We, generally, classify Nepali dance into three categories. They are folk,
modern, and classical dances. All of these dance-categories have their own
importance and preference at different situations.
a. Folk Dance
A folk dance is a dance developed in the community itself by people

that reflect the life of the people of that particular community. Because
of dance, we can connect ourselves with our cultures, and know more
about how people have lived in the past.


Nepal is very rich in ethnic and cultural diversity. A vivid and wide
geographical diversity has created a significantly wide cultural
diversity in Nepal in terms of dress-up, food, language, and lifestyle
of people. Various folk dances represent the vividness of indigenous
Nepali culture in our country. The following are the major folk dances
prevailing in Nepal.

Nepali folk dances are performed in various festivals, events,
ceremonies, Jaatras, marriages, Bratabanda, and many other social and
traditional rituals. A peculiar community may have specific type of folk
dances.

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Community Folk Dances
Limbu Dhan naach
Gurung
Magar Sorathi
Sherpa Kaura
Rai Syabru
Tamang Chandi
Solo

b. Modern Dance

Dances performed with newer
concept and music style are
called modern dance. They
gradually change over time
according to the demand and
interest of new generation of
audiences. Such dances may
differ with the country, time,
situation and the demands of
the audience and are presented
in new forms. The basis for the
creation of modern dance is
folk and classical dance. Lyrical
hip pop, lyrical bee bowing,
lyrical contemporary dance are
some examples of modern dance. There are extremely skillful body
movements in modern dances like salsa and bee-bowing dances. Some
of the modern dances seem thrilling and extremely exciting.

c. Classical Dance

Nepali classical dance is performed with the help of classical musical
instruments but not played with any electronic instrument. The people
choose a particular type of costume for performing a particular type
of classical dance. It describes the particular classical songs or music
and requires the particular types of steps for the dance. Some of the

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examples of Nepali classical dance are Kumari dance, Manjushree
dance, Panchabuddha dance, Bajrayogini dance, etc.

Activity
Learn the steps of any one classical dance from your senior broth-
ers/sisters, teacher/instructor, or internet. Practise it and make a short
performance in the classroom.

Dance Tools

Dance tools are the ways that are adopted by the performer for better precision
of space, time, force, body shape, and expression delivered to the audience.
There are three major tools of dancing. They are anga, upanga, and pratyanga.
a. Anga: The body parts that basically move during dance performance

are called anga. They are head, hand, chest, abdomen, waist, and the
feet.
b. Upanga: The smaller parts of anga are called upanga. For example, the
eyes, nose, lips, eyebrow etc. are upangas of ‘head’ anga in dance.
c. Pratyanga: The bigger parts of anga are pratyanga. Shoulders, palms,
back, thighs, etc. are the examples of pratyanga.

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Activity
Practise dancing in a national song with the proper use of the three
tools of dance described above.

13.2 Gestures and Hastamudra in Dance

Individuals can use gestures to express a wide range of emotions and
thoughts, from contempt and hostility to approval and tenderness.
Gestures typically use body language in addition to words when they
express their feelings. Gestures and speech work independently, yet they
come together to add emphasis and meaning. So, the gestures are regarded
as very important components of dance. Hand gestures are widely used in
expressing the internal feelings of the dancer to the audience.
They depend upon the lyrics, circumstances and cultural/traditional
background of the songs. Hand gestures can represent flowers, water,
ways, birds, animals, activities, celebrations, joy, pity, grief, love, affection,
tragedy and several such other feelings. They can be made with a single
hand or both hands depending upon the need. A gesture with a single
hand is called Asamyukta Hastamudra and when both hands are used, it
is called Samyukta Hastamudra.

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a. Non-associated Hand-gesture (Asamyukta mudra)
i. Pataka : It is a leaf-like gesture made with joined
straight fingers and plain palm. It is used for
representing blessings, oath, ban and closed
door or windows.

ii. Shikhara: This mudra has a raised thumb over
the closed fist. It may represent questions,
lust, weapons and embarrassment.

iii. Suchi: This gesture with erect forefinger and
others bent to touch each other’s fingertips may
represent indication, Sudarshan Chakra and
warning.

iv. Alpadama: This is a gesture that looks like
blooming lotus on water. It may represent
questions, beauty, and the illustration of
local circumstances.

a. Associated Hand-gesture (Samyukta mudra)
i. Kapota : It is an example of Samyukta
Hastamudra where both hands are used for
illustration. It may represent respect, bow,
obedience, respect, etc.

ii. Utsanga : Utsanga Hasta is one of the very
common items of Samyukta Hastamudra.
In Sanskrit language, ‘Utsanga’ means an
embrace. We can use this Mudra to depict an
embrace and other similar expressions during
a dance performance.

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13.4 Acting/Dancing with Make-up and Costume

Attractive make-up and use of dance-costumes play important role in
making the performance alive. Gestures, voice and dress-up help show
an imaginary environment and role with realistic experience to the
audience. Dramatic presentations become live and entertaining with
those accessories in the dance performance. Acting is about creating
images and situations that are not in the present time. Imagination is the
basis of acting because it is all about mimicking real life situations and an
actor, therefore, must be highly imaginative. Acting requires emotional
knowledge, creativity, critical thinking and problem-solving skills. Acting
possesses a characteristic trait that it enables us to assume information
that we may apply in our behaviour in different contexts. Hard work and
dedication help us become a good actor.

Actors and dancers, sometimes, need to imitate special religious and
cultural characters like Gods and Goddesses and other characters of
religious myths and stories. Ram, Krishna, Sita, Draupadi, Rawan, Kansa,
Arjuna are some of such characters that are well defined by their nature,
dress-up, accessories and lifestyle. We require special material to act on
their roles. Acting is, sometimes, taken as an integral part of dance. There
are four basic types of acting.

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Proper focus is required on the dress-up, ornaments and other accessories
carried or worn by the character to be represented. The means of
representation of the play in this type of acting are costumes and physical
decorations of the actors. Decorations of the theatre and lighting are also
considered important in this acting. The dresses and ornaments used in
dance depend upon the nature, category and cultural background of the
song. For example, Gunyucholi, Patuki, Pauju, Jhumka, Pote, ornaments,
Sirful etc. are used for acting in Bhailo Geet. Acting in religious dramas
require garlands, yellow dress, Mukut, flute, etc. The make-up materials
may include face primer, foundation, cream, concealer, blush, highlighter,
eyeliner, etc.

Exercise

A. Match the following :

Classical dance • • Chandi

Folk dance • • Manjushree dance

Modern dance • • Head

Anga • • Salsa

Shoulder • • Upanga

Nose • • Pratyanga

B. Answer the following questions.
1. Define dance. What makes dance important? Explain briefly.

2. Define folk dance? Give an example with its brief description.

3. Differentiate between classical and modern dance with exam-
ples.

4. Give a short introduction to:

a. Dance tools b. Hand gestures c. Pataka

5. List out any five basic skills required for a good dance.

6. What does Hastamudra mean? Differentiate between Alpadama
and Kapota Hastamudra gestures.

7. Give a brief introduction to Utsanga Hastamudra.

8. What is the role of dress-up and make-up in acting? Explain with
examples.

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