Indian classical music, including bhajans played on instruments like the sitar, has traditionally been passed down through oral instruction from guru to shishya (master to student). This oral tradition has prioritized direct transmission over written notation, resulting in limited emphasis on formalizing musical scores. Although musicians and musicologists in both Carnatic and Hindustani traditions have attempted to standardize notation systems over the years, these efforts have seen only partial success. The lack of universal acceptance across different schools of music highlights the challenges in creating a notation system that accommodates the rich intricacies of ragas, talas, and improvisational elements inherent in the tradition.

When it comes to playing bhajans on the sitar, existing notation methods fall short in capturing the devotional nuances, subtle embellishments (gamakas and meends), and rhythmic variations that define the genre. Bhajans often incorporate fluid transitions between notes and intricate melodic phrases that are difficult to represent with conventional notation. As a result, there is a pressing need for enhanced notation techniques that can more accurately convey these elements while remaining accessible to musicians. Improved notation would not only aid in preserving bhajans but also facilitate learning and collaboration among artists, ensuring the tradition thrives in both contemporary and future contexts.

The notation described here builds on earlier works by legends of Indian music such as Pandit Vishnu Narayan Bhatkhande and Pandit Ravi Shankar of the Hindustani tradition, and Brahmasri Subbarama Diksita of the Carnatic tradition. Some modifications have been made to their notation styles for adaptation to the Sitar, particularly to better capture the nuances in gamakas.