BSEB Inter Music key terms

A single musical note or pitch in Hindustani music. Seven shuddha swaras form the basic scale, and each can be raised or lowered to create komal and tivra variants.

The set of seven notes (Sa Re Ga Ma Pa Dha Ni) spanning one octave. Hindustani music recognises three registers: mandra, madhya, and taar saptak.

The smallest perceptible interval of pitch used in Indian music theory. Tradition speaks of twenty-two shrutis within an octave, though modern practice uses the twelve-semitone scale.

A melodic ornament or patterned exercise, such as a run of notes in sequence, used to train the voice and decorate a raga. Palta is a common type of alankar.

A melodic framework defined by a rising and descending scale, characteristic phrases, a dominant note, and rules of ornamentation. Each raga carries a mood and is associated with a time of day or season.

The ascending order of notes used in a raga. Some ragas omit notes on the way up, so the aroha may differ from the avaroha.

The descending order of notes used in a raga. It is often fuller than the aroha and helps distinguish ragas that share the same ascending scale.

A short, recognisable phrase that captures the identity of a raga. Hearing the pakad lets a listener identify the raga even without the full scale.

The characteristic movement or gait of a raga: the typical way phrases travel between notes, including vakra (zigzag) motion. It distinguishes ragas with similar scales.

The most important note of a raga, on which the melody dwells most and which reveals the raga's character. It is sometimes called the king note.

The second most important note of a raga, supporting the vadi. Traditionally it lies a fourth or fifth away from the vadi.

A crooked or zigzag melodic movement in which notes are not taken in straight order. Vakra phrases are essential to the identity of certain ragas.

A rhythmic cycle in Hindustani music, made of a fixed number of beats grouped into vibhags. Each tala has clap, wave, and sometimes silent positions that mark its structure.

A single beat or unit of time within a tala cycle. The number of matras defines the length of the cycle, for example sixteen in Teentaal.

A bar or group of beats within a tala cycle, marked by a clap or a wave. Vibhags give the tala its internal shape, such as four groups of four in Teentaal.

The first beat of a tala cycle, where the melody and rhythm return together. Reaching sam is the main point of resolution in performance.

A clap used to mark a vibhag within a tala cycle. Talis are counted on the fingers and show where the stressed sections of the cycle begin.

A wave of the hand marking an unstressed vibhag in a tala, shown by an empty or open beat. Khali contrasts with tali and helps performers track the cycle.

The tempo or speed of a performance. It is broadly classified as vilambit (slow), madhya (medium), and drut (fast), and may be varied within a piece.

A sixteen-beat tala divided into four vibhags of four beats each. Its clap pattern is tali on beats 1, 5, and 13, with khali on beat 9.

A twelve-beat tala divided into six vibhags of two beats. It is common in vilambit khayal and has a distinctive pattern of claps and waves.

A ten-beat tala arranged as two, three, two, and three beats. It is widely used for khayal and is known for its uneven, lively gait.

A major Hindustani vocal form with two contrasting compositions, the slow bada khayal and the faster chhota khayal. It allows wide improvisation through alap, taan, and bol-bant.

The slow, expansive khayal composition set in vilambit laya. It gives the performer space for detailed melodic improvisation before the faster section follows.

A short khayal composition in medium or fast tempo, often performed after the bada khayal. It features lively taans and a shorter, tighter structure.

The oldest surviving major Hindustani vocal form, sung with a four-part structure and often accompanied by pakhawaj. It is known for its austere alap and dignified pace.

A fast, rhythmic vocal form that uses syllables such as nom, tom, and tana instead of meaningful text. It shows the singer's command of laya and taan.

A devotional song, usually in Hindi or a regional language, expressing love for a deity. It is often set in simple talas and is accessible to non-specialist listeners.

Traditional regional music passed down orally, such as kajri, chaiti, and sohar in Bihar and neighbouring areas. It uses local dialects, simple melodies, and community performance settings.

The opening, unmetred section of a raga performance in which the notes and mood are introduced slowly. It has no percussion and gradually builds from low to high register.

A fast, rhythmic melodic run used in khayal and other forms. Taans may be straight, zigzag, or patterned, and they display both vocal agility and command of tala.

A composed song or piece in Hindustani music, with text and melody fixed in a raga and tala. It serves as the base for improvisation in khayal and dhrupad.

A written system for recording swaras and rhythmic cycles. Hindustani notation commonly uses sargam letters with dots and lines to show octave and beat positions.

The use of syllable names Sa Re Ga Ma Pa Dha Ni to sing or write notes. In notation, symbols mark komal, tivra, and octave placement.

A slow tempo, used especially for the bada khayal. It allows elaborate ornamentation and gradual development of the raga.

A barrel-shaped two-headed drum used to accompany dhrupad and related forms. Its bols and tuning differ from those of the tabla.

A school or lineage of musicians sharing a style, repertoire, and teaching tradition. Famous vocal gharanas include Gwalior, Kirana, and Agra.

A parent scale of seven notes from which ragas are derived, as systematised by V. N. Bhatkhande. Ten thaats classify most common Hindustani ragas.