BSEH Secondary Music Instrumental key terms

The set of seven pitch positions that make up one octave in Hindustani music, named Sa Re Ga Ma Pa Dha Ni. Three registers exist: mandra (lower), madhya (middle), and taar (upper).

A single musical note or pitch degree within the saptak. Twelve positions are used in practice: seven shuddha (natural) and five vikrit (altered) forms, each named relative to its shuddha position.

The smallest perceivable interval of pitch used in theoretical classification of Indian music. Tradition speaks of twenty-two shrutis in an octave, though modern practice works with twelve tempered positions.

An altered form of a shuddha note, produced by lowering (komal) or raising (teevra) the natural pitch. Komal applies to Re, Ga, Dha, Ni; teevra applies only to Ma.

A shuddha note flattened by one semitone. Komal Re, Ga, Dha, and Ni are the four flattened degrees available; komal notes are central to ragas such as Bhairavi, Todi, and Asavari.

The raised form of the fourth degree, Ma, placed one semitone above shuddha Ma. It is the only note with a teevra alteration and appears in ragas such as Yaman and Puriya.

A natural, unaltered note of the saptak. There are seven: Sa, Re, Ga, Ma, Pa, Dha, Ni. Sa and Pa are fixed and are never altered in the Hindustani system.

The principal or king note of a raga, the pitch on which the raga's identity most depends and which receives the greatest emphasis in performance. Its position is fixed and is stated in every raga description.

The second most important note of a raga, subordinate to the vadi but strongly emphasised. It usually lies a fourth or fifth away from the vadi and supports the raga's tonal centre.

The ascending order of notes used in a raga, moving from lower to higher pitch. Aroha may be straight (avaroha-sampurna) or skip notes, and it often differs from the descending path.

The descending order of notes used in a raga, moving from higher to lower pitch. Many ragas use more notes in avaroha than in aroha, which is one way their character is recognised.

A melodic framework defined by a specific set of notes, ascending and descending paths, vadi and samvadi, and characteristic phrases. A raga is rendered according to time of day and season conventions.

A short, recognisable catch-phrase that captures the essential movement of a raga. Playing or singing the pakad immediately identifies the raga and is used as a memory aid for students.

The characteristic melodic movement or gait of a raga, showing how its notes are approached, ornamented, and left. Chalan is broader than pakad and guides improvisation within the raga's grammar.

A rhythmic cycle in Hindustani music made up of a fixed number of matras, divided into vibhags, with specific clap and wave positions. Each tala has a name and a recognised theka.

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

A bar or section within a tala cycle, containing a fixed number of matras. Vibhags are marked by claps (tali) or waves (khali) and give the cycle its internal shape.

A clap marking a vibhag boundary in a tala. Tali positions are sounded on the hand during recitation and include the sam; each tali has a number in the theka.

A wave of the hand marking a vibhag that is rhythmically lighter or empty in a tala. Khali contrasts with tali and helps performers and listeners track position within the cycle.

The first and most important matra of a tala cycle, marked by a clap. Compositions and improvisations resolve on sam, and performers aim to land there together after any departure.

The tempo or speed of a performance, measured against the tala cycle. Three broad levels are recognised: vilambit (slow), madhya (medium), and drut (fast), with intermediate gradations.

The standard spoken or played pattern of a tala on tabla, showing its matras, tali, and khali positions. The theka is the reference rhythm that keeps performers aligned to the cycle.

A notation system devised by V. N. Bhatkhande using letters for notes, with underlining and dots to show register and lines to divide vibhags. It is the most widely used system in Hindustani music education.

A notation system associated with Vishnu Digambar Paluskar, using Devanagari letters for notes with marks for komal and teevra forms and vertical lines for vibhag divisions. It remains common in devotional and traditional teaching.

The dominant vocal form of Hindustani music, setting a short composition (bandish) in a raga and tala, followed by improvised elaboration. It exists in vilambit (bada) and drut (chhota) tempos.

The oldest surviving major vocal form, marked by a dignified tempo, a four-part structure (sthayi, antara, sanchari, abhog), and usually pakhawaj accompaniment. Its alap is slow and unmeasured.

A fast vocal or instrumental composition using meaningless syllables such as nom, tom, and dere instead of text. It displays rhythmic skill and is often performed at the end of a khayal recital.

A devotional song, usually in Hindi or a regional language, expressing religious feeling. In Hindustani performance bhajans use ragas and simple talas and are often sung in a call-and-response style.

A composed song in a raga and tala, with fixed text and melody, forming the framework for improvisation in khayal and dhrupad. Its sections include sthayi and antara.

The first section of a composition, presenting the opening melodic line and text, usually staying in the lower and middle register. It returns as a refrain throughout the performance.

The second section of a composition, typically moving into the upper register and introducing new text. It contrasts with the sthayi and completes the basic bandish structure.

The opening, unmetred exposition of a raga, unfolding its notes slowly without rhythmic accompaniment. Alap establishes the raga's mood and is central to dhrupad and to instrumental performance.

A melodic exercise or ornament pattern used in training, moving through the notes of a raga or scale in systematic sequences. Alankars build fluency, accuracy, and breath or bow control.

A practice exercise that permutes the notes of a raga or scale in changing orders to develop flexibility and finger or vocal dexterity. Paltas are a standard part of daily riyaz.

Regular, disciplined practice of scales, alankars, compositions, and tala exercises. Sustained riyaz is considered the foundation of technical control in both vocal and instrumental performance.

A long-necked drone instrument with four strings, tuned to Sa, Pa (or Ma), and Sa, providing a continuous reference pitch. Its rich overtones support intonation for singers and instrumentalists.

A pair of hand drums, the smaller dayan and larger bayan, used to accompany Hindustani music. The tabla plays theka patterns and solo compositions, and the bayan provides a low, bending tone.

A barrel-shaped two-headed drum, played with both hands, traditionally accompanying dhrupad and related forms. Its deep, resonant strokes differ from the sharper sound of the tabla.