ASSEB HSLC Class 10 Elective Music key terms

A single musical pitch or note in Indian music. The seven basic swaras are Sa, Re, Ga, Ma, Pa, Dha and Ni, and each can be sung or played in different positions within the octave.

The set of seven notes forming one octave, from Sa to the next Sa. Indian music recognises three registers: mandra (lower), madhya (middle) and taar (upper) saptak.

The smallest audible interval recognised in Indian music theory. Tradition speaks of twenty-two shrutis in an octave, and they describe fine intonation rather than fixed piano-like keys.

The register or octave position in which a phrase is sung. Mandra is the lower register, madhya the middle, and taar the upper; notation marks notes by their sthayi.

The ascending order of notes used in a raga, moving from lower to higher pitch. It often differs from the descending order and helps define the raga's character.

The descending order of notes in a raga, moving from higher to lower pitch. Comparing aroha and avaroha reveals whether a raga is straight or crooked in shape.

A melodic framework with a fixed set of notes, characteristic ascending and descending movements, and a mood. It gives a musician a grammar for improvisation rather than a fixed tune.

The most important or dominant note of a raga, the one the musician returns to and dwells on. It is often called the king note of that raga.

The second most important note of a raga, usually a fourth or fifth away from the vadi. It supports the vadi and helps shape the raga's identity.

A short catch-phrase of notes that instantly identifies a raga. Singing the pakad is a common way to prove recognition in a viva voce.

The characteristic movement or gait of a raga, showing how its notes are actually approached in practice. It may include bends, skips and specific turns not obvious from the scale alone.

A zigzag or crooked movement in a raga, where notes do not simply rise or fall in order. A raga using such turns is described as vakra and cannot be judged from its scale alone.

A modified note, either komal (lowered) or tivra (raised), as opposed to a shuddha or natural note. Ma is the only note that can be tivra in the standard system.

A natural, unaltered note in the standard scale, as distinct from a komal or tivra version. Sa and Pa have no altered forms in the usual twelve-note scheme.

A smooth glide from one note to another, produced by sliding the voice or string without a break. It is central to raga singing and to instruments such as the sarod and sitar.

A heavy, forceful oscillation or shake on a note, giving it weight and ornamentation. Different gharanas use gamak in distinct ways, and it is especially prominent in Carnatic music.

A grace note touched briefly before or after a main note, without being held. It decorates the phrase and is written as a small note in notation.

An ornament or decorative figure applied to notes, such as a shake, slide or grace touch. Also used for patterned swara exercises that train the voice across the octave.

A systematic exercise that moves a swara pattern through the scale, training pitch accuracy and flexibility. Paltas are standard practice material for beginners in both vocal and instrumental training.

A rhythmic cycle in Indian music, built from beats grouped into sections. Each tala has a fixed number of matras and specific points of stress.

A single beat or count within a tala cycle. The number of matras defines the length of the cycle, such as sixteen for Teental or six for Dadra.

The first and most important beat of a tala cycle, where phrases resolve. Landing on sam is a mark of rhythmic control and is shown by a cross in notation.

A clapped beat marking a stressed position in the tala cycle, other than or including sam. Tali positions are shown by numbers in notation and guide the performer's hand.

A waved or empty beat marking an unstressed position in the tala cycle. It is shown by a zero in notation and contrasts with the clapped tali beats.

A section or bar within a tala cycle, containing a group of matras. Vibhags are separated by tali or khali marks and make long cycles easier to follow.

The tempo or speed of a performance. Vilambit is slow, madhya is medium and drut is fast, and a musician may move between these within one piece.

The art of playing with tempo, including patterns that create two-against-three or four-against-three effects. It demonstrates advanced rhythmic control within a steady tala.

Singing or writing notes using their syllable names, Sa Re Ga Ma Pa Dha Ni. It is the basic tool for notating melody and for teaching raga phrases.

A widely used Indian notation system devised by V. N. Bhatkhande. It writes swaras in Devanagari, marks octaves with dots and lines, and places tala symbols above the phrase.

A devotional song of Assam composed in the Vaishnava tradition, attributed to Srimanta Sankardeva and Madhavdeva. It uses raga and tala and is sung in satras with a specific formal style.

A traditional Assamese performing art combining narrative singing, dance and acting, led by an Oja with pali companions. It draws on mythology and is performed to the beat of the khol and cymbals.

Folk songs of Assam sung during the Bihu festivals, especially Bohag Bihu. They deal with love, seasonal change and social life, and have a lively, rhythmic character.

Folk song in general, passed down orally within a community rather than composed by a named author. In Assam it includes Bihu songs, marriage songs and work songs in various languages.

A classical dance and music tradition of Assam's Vaishnava satras, codified by Sankardeva and later performers. It was recognised as a classical dance form and is accompanied by khol and cymbals.

A barrel-shaped clay or wooden drum of Assam, played with the hands in Borgeet, Ojapali and Sattriya. It provides the rhythmic base for Vaishnava music and dance.

A double-headed drum widely used across Assam and the North-East, played with sticks in Bihu and other festive music. Its size and tuning vary by region and occasion.

A buffalo-horn wind instrument of Assam, played in Bihu music and associated with the Mising community. It produces a piercing, reedy tone and is often paired with the dhol.

A long-necked drone instrument with four strings, plucked to provide a continuous reference pitch. It does not play melody but supports the singer's tuning throughout a performance.

A long-necked plucked string instrument with movable frets and sympathetic strings, central to Hindustani music. Its curved bridge allows meend and gamak, and it is played with a wire plectrum.

The class of stringed instruments in Indian classification, covering both plucked and bowed types. Sitar, sarod, violin and taanpura belong to this group, which is also called chordophones.

The class of wind instruments in Indian classification, sounded by breath through a tube or horn. Flute, shehnai and pepa are examples, corresponding to aerophones in Western terms.

The class of percussion instruments with a stretched skin head, such as the tabla, mridangam, khol and dhol. The name means covered, and these correspond to membranophones.

The class of solid, non-stretched percussion instruments struck to produce sound, such as cymbals, gongs and the jal tarang. They correspond to idiophones and are used to mark rhythm.

A slow tempo used for the opening, expansive section of a raga presentation. It allows detailed phrasing and ornamentation before the music moves to medium and fast speeds.

A fast tempo, usually heard in the closing section of a performance or in a short composition. It displays rhythmic command and often builds to a climax on sam.

The unmetred, slow opening of a raga performance in which the notes are unfolded without drum accompaniment. It establishes the raga's mood before any composition begins.

A fixed composition in Hindustani music, set in a raga and tala, with words and a melodic line. It is the base for improvisation and is usually performed in two speeds.

The oral examination component in which a candidate sings or plays phrases on demand and explains them. It tests recognition of ragas and talas, instrument knowledge and clear spoken reasoning.