Notation System and Writing Notation
Notation converts sound into inspectable symbols so compositions survive, can be taught and can be analysed. CHSE asks you to write a sargam phrase or a theka in notation and to read the symbols correctly.
Bhatkhande notation rules
- Swaras written as Sa Re Ga Ma Pa Dha Ni, in Devanagari or Roman.
- Shuddha swaras are plain; komal swaras take a mark below (underline); tivra Ma takes a vertical stroke or arrow above.
- Octave: dot below = mandra, dot above = tar, no dot = madhya.
- Time and structure: a dash (-) prolongs the previous note; a single bar (|) ends a vibhag; a double bar (||) ends the avartan; sam is marked x or 1, other talis by number, khali by 0.
- Paluskar's notation uses different signs for komal and was designed with Western staff notation in view; do not mix the two systems in one answer.
Writing a tala
Set the matras in a row, draw vibhag lines at the correct places, write tali/khali numbers above, and align every syllable or swara under its own matra.
Worked example
Teental sargam in raga Bilawal (all shuddha):
1 S 2 R 3 G 4 M | 5 P 6 D 7 N 8 S' | 9 N 10 D 11 P 12 M | 13 G 14 R 15 S 16 -
Tali numbers above: 1 (sam), 5 (2), 13 (3); khali 0 above matra 9. Reasoning: Teental is 4+4+4+4, so vibhag lines fall after matras 4, 8 and 12; the third vibhag begins on 9, which is khali; the phrase returns to Sa on 15, leaving 16 as a pause before sam.
Traps
Treating khali as a silent matra; drawing the vibhag line after 5 instead of 4; inserting tivra Ma into a Bilawal phrase; forgetting octave dots, so the notation reads as if it never leaves the middle register; misaligning syllables so sam no longer falls on the strong beat.