BSEB Inter Music flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Swara

A musical note in Hindustani music; seven shuddha (natural) swaras: Sa, Re, Ga, Ma, Pa, Dha, Ni; five vikrit (altered) swaras: komal Re, Ga, Dha, Ni and tivra Ma.

Raga

A melodic framework defined by aroha (ascending scale), avaroha (descending scale), pakad (catch phrase), vadi (sonant), samvadi (consonant), and prescribed time of performance.

Tala

A rhythmic cycle in Hindustani music defined by matra (beats), vibhag (divisions), tali (clap), khali (wave), and theka (mnemonic syllables); e.g., teental has 16 matras.

Thata

Parent scale in Bhatkhande's classification system; ten thatas: Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Purvi, Marwa, Kalinga, Todi.

Vadi

The most emphasized or sonant note of a raga; often the note on which the raga's characteristic phrases resolve; samvadi is the second most emphasized note.

Pakad

A characteristic catch phrase or melodic motif that identifies a raga; e.g., Yaman pakad: Ni Re Ga Ma(tivra) Pa; Bhairav pakad: Ga Ma Pa Dha(komal) Pa.

Yaman

Raga in Kalyan thata; aroha: Sa Re Ga Ma(tivra) Pa Dha Ni Sa; avaroha: Sa Ni Dha Pa Ma(tivra) Ga Re Sa; vadi: Ga, samvadi: Ni; performed in evening.

Bhairav

Raga in Bhairav thata; aroha: Sa Re(komal) Ga Ma Pa Dha(komal) Ni Sa; avaroha: same; vadi: Dha, samvadi: Re; performed in early morning.

Bhoopali

Raga in Bilawal thata; aroha: Sa Re Ga Pa Dha Sa; avaroha: Sa Dha Pa Ga Re Sa; vadi: Ga, samvadi: Dha; performed in evening; pakad: Ga Re Sa, Dha Pa Ga Re Sa.

Bageshri

Raga in Kafi thata; aroha: Sa Ga Ma Pa Ni Sa; avaroha: Sa Ni Dha Ma Pa Dha Ga Re Sa; vadi: Ma, samvadi: Sa; performed in late night.

Todi

Raga in Todi thata; aroha: Sa Re(komal) Ga(komal) Ma(tivra) Pa Dha(komal) Ni Sa; avaroha: same; vadi: Dha, samvadi: Ga; performed in late morning.

Bhimpalasi

Raga in Kafi thata; aroha: Sa Ga Ma Pa Ni Sa; avaroha: Sa Ni Dha Pa Ma Ga Re Sa; vadi: Ma, samvadi: Sa; performed in late afternoon.

Teental

Tala of 16 matras in 4 vibhags of 4; tali: 1,5,13; khali: 9; theka: dha dhin dhin dha / dha dhin dhin dha / dha tin tin ta / ta dhin dhin dha.

Jhaptal

Tala of 10 matras in 5 vibhags of 2; tali: 1,3,8; khali: 6; theka: dhi na / dhi dhi na / ti na / dhi dhi na.

Ektaal

Tala of 12 matras in 6 vibhags of 2; tali: 1,5,9,11; khali: 3,7; theka: dhin dhin / dha ge ti ra ki ta / tu na / ka ta / dhin dhin / dha ge ti ra ki ta.

Rupak

Tala of 7 matras in 3 vibhags (3+2+2); tali: 1,4,6; khali: 1 (sam is khali); theka: tin tin na / dhin na / dhin na.

Keherwa

Tala of 8 matras in 2 vibhags of 4; tali: 1,5; no khali; theka: dha ge na ti / na ka dhi na.

Laya

Tempo in Hindustani music; three main speeds: vilambit (slow), madhya (medium), drut (fast); layakari: barabar (1x), dugun (2x), tigun (3x), chaugun (4x).

Sam

The first beat of a tala cycle; marked with 'X' in notation; all compositions and tihais resolve on sam; considered the most important beat.

Bharata's Natyashastra

Earliest treatise on Indian music, dance, and drama (c. 200 BCE–200 CE); describes nada, shruti, grama, and raga; foundational text for Hindustani and Carnatic music.

Sangita Ratnakara

13th-century treatise by Sarngadeva; systematized raga and tala; defines 264 shritis and raga classification; important source for medieval Indian music theory.

Amir Khusrau

13th-century Sufi musician and poet; credited with introducing Persian elements into Indian music, developing sitar and tabla, and composing qawwali and early khayal.

Tansen

16th-century master of dhrupad and court musician of Akbar; credited with creating ragas Miyan ki Malhar, Miyan ki Todi, and Darbari Kanada.

Bhatkhande

Vishnu Narayan Bhatkhande (1860–1936); created the ten-thata system, wrote Hindustani Sangeet Paddhati, and standardized Hindustani music notation.

Paluskar

Vishnu Digambar Paluskar (1872–1931); founded Gandharva Mahavidyalaya in 1901 and developed a notation system using numerals and symbols.

Dhrupad

Oldest Hindustani vocal form; four parts: sthayi, antara, sanchari, abhog; performed with rudra veena or pakhawaj; known for gravity and elaboration.

Khayal

Romantic Hindustani vocal form; two parts: sthayi and antara; types: vilambit (bada) and drut (chhota); ornamentation includes taan, murki, and gamak.

Tarana

Rhythmic vocal composition using mnemonic syllables (dha, ta, na, etc.) instead of meaningful text; often in drut laya; similar to tillana in Carnatic music.

Bhajan

Devotional song; forms: nirgun (formless) and sagun (with form); composers: Mirabai, Kabir, Tulsidas, Surdas; usually in simple talas like keherwa.

Folk traditions

Regional music styles: Rajasthan (Manganiyar, Langa), Punjab (Bhangra), Bengal (Baul), Maharashtra (Lavani), Gujarat (Garba), Assam (Bihu).

Alap

Unmetered, improvised exploration of a raga's notes and phrases, usually at the beginning of a performance; establishes the raga's mood before the composition.

Tihai

A rhythmic phrase repeated three times, ending on sam; used to conclude a composition or section; must be calculated to resolve exactly on the first beat.