Sargam refers to singing the notes instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance.[1] This is generally done in medium-tempo as a bridge between the alap and taan portions. As an example, one could sing PmRSnSRRSRnSPnmPgmnnPmgmRSnS in raga Adana, given that raga’s vadi-samvadi and the rules of the raga (see swara for explanation of the notes).

The use of sargam in khyal performances was introduced by Abdul Karim Khan, who was inspired by its use in Carnatic music. Aman Ali Khan further refined its use and made it an integral part of the Bhendibazaar style. Many of the khyal styles today use sargam to some extent, with the exception of the Jaipur-Atrauli and Gwalior styles.

Disclaimer : The content may have some copyright material. The purpose is to share education. If anyone has any objection regarding the published material on this website, kindly contact us for removal. It will be immediately removed. We are also ready to acknowledge owners reference.
Support for a cause
Support for a cause

NAD-SADHNA INSTITUTE FOR INDIAN MUSIC AND RESEARCH CENTRE is a place where researchers in music education, professionals in related fields, as well as undergraduate, post graduate and PhD scholars, students and enthusiasts, can get together in a virtual exchange of information and knowledge in the field of Music Education and Musical Performance. Besides, our purpose is to work in areas as diverse as academic research, music and sound production, exhibition services, and the delivery of cinematic, music, and arts events. Nad Sadhna was founded in 2010 and is based in Jaipur, the city better described as the cultural capital of the Country. Having dedicated study facilities, extensive holdings of published and unpublished materials (books, journal and newspaper articles, scores and recordings), collections of recorded music and an audio visual laboratory.