BSEH Secondary Music Vocal cheat sheet

Nada: sound; two types-Ahata (struck, produced by impact) and Anahata (unstruck, cosmic sound). Musical nada has pitch, volume, and timbre.

Shruti: microtonal interval; 22 shrutis per octave in Bharata's system. Names include Chandovati, Dayavati, Ranjani, etc. Used to define intonation of swaras.

Swaras: seven shuddha (Sa Re Ga Ma Pa Dha Ni), four komal (Re, Ga, Dha, Ni), and one tivra (Ma). Sa and Pa are achala (immovable); others are chala (movable).

Saptak: seven-note octave range-Mandra (lower), Madhya (middle), Tara (upper). Vocal register shifts correspond to these saptaks.

Vadi: principal note of a raga (king); Samvadi: second most important (queen). Anuvadi: supporting notes; Vivadi: dissonant/forbidden notes. Vadi-Samvadi interval is usually 4th or 5th.

Aroha (ascending) and Avaroha (descending) define raga contour; Pakad is the catch-phrase that identifies a raga; Chalan is the melodic movement.

Alankar: ornamentation-meend (glide), kan (grace note), gamak (oscillation), murki (quick turn), khatka (cluster), zamzama. Each raga permits specific alankars.

Tala terminology: Matra (beat), Vibhag (division), Sam (first beat), Tali (clap), Khali (wave), Theka (mnemonic pattern). Laya: Vilambit, Madhya, Drut.

Gharana: stylistic school of vocal music-Gwalior, Agra, Jaipur-Atrauli, Kirana, Patiala, etc. Each has distinctive ornamentation and repertoire.

Raga definition: melodic framework with fixed swaras, vadi-samvadi, aroha-avaroha, pakad, and time of day (samay). Ragas are classified by Thaat (10 thaats of Bhatkhande).

Thaat system: Bilawal (all shuddha), Khamaj (komal Ni), Kafi (komal Ga, Ni), Asavari (komal Ga, Dha, Ni), Bhairavi (all komal), Bhairav (komal Re, Dha), Kalyan (tivra Ma), Marwa (komal Re, tivra Ma), Poorvi (komal Re, Dha, tivra Ma), Todi (komal Re, Ga, Dha, tivra Ma).

Swaralipi notation: Sa Re Ga Ma Pa Dha Ni for shuddha; Re, Ga, Dha, Ni in lowercase or with underline for komal; Ma with acute accent or capital for tivra. Mandra saptak marked with dot below, Tara with dot above.

Time theory (samay): ragas assigned to prahar (3-hour periods). Example: Bhairav (morning), Todi (late morning), Sarang (afternoon), Multani (late afternoon), Puriya (evening), Yaman (early night), Bageshri (late night), Lalit (dawn).

Raga-rasa: aesthetic mood-Bhairav (karuna), Yaman (shringar), Bhairavi (bhakti/karuna), Malkauns (shanta). Rasa guides ornamentation and tempo.

Notation of compositions: Sthayi (first section, in lower/middle register) and Antara (second section, higher register). Bandish includes sthayi, antara, and sometimes sanchari/abhog.

Raga identification: compare aroha-avaroha, vadi-samvadi, pakad, and characteristic phrases. E.g., Yaman has tivra Ma and Ni in aroha; Bhairavi has all komal swaras.

Raga classification: Purva ragas (old, e.g., Bhairav, Malkauns) and Uttar ragas (newer, e.g., Yaman, Kafi). Also ragas with pancham (Pa) vs. without (e.g., Malkauns, Marwa).

Notation conventions: Bar lines for vibhag, numbers for matra, symbols for tali (x) and khali (0). Avagraha (S) for continuation, danda (|) for division.

Tala components: matra (beat count), vibhag (grouping), tali (clap), khali (wave), sam (first beat). Theka is the spoken mnemonic (e.g., Dha Dhin Na Tin Na Tin Na Dhin for Teental).

Common talas: Teental (16 matras, 4 vibhags: 4+4+4+4), Jhaptal (10, 2+3+2+3), Ektal (12, 2+2+2+2+2+2), Chautal (12, 2+2+2+2+2+2), Dhamar (14, 5+2+3+4), Rupak (7, 3+2+2, khali on sam), Jhaptal, Ada Chautal (14), Sultaal (10), Tivra (7), Bhajani (8).

Tali-khali pattern: Tali marked with numbers (1,2,3...) or x; khali with 0. Sam is usually tali 1. In Rupak, sam is khali. In Teental: tali on 1,5,9,13; khali on 5 and 13? Actually Teental: sam=1 (tali), tali on 5,9,13; khali on 5 and 13? Correction: Teental has tali on 1,5,9,13 and khali on 5 and 13? No-Teental: vibhag 1 (1-4) tali, vibhag 2 (5-8) khali, vibhag 3 (9-12) tali, vibhag 4 (13-16) tali. So tali on 1,9,13; khali on 5.

Laya: Vilambit (slow, 40-60 bpm), Madhya (medium, 80-120), Drut (fast, 160-240). Layakari: rhythmic variation-barabar (1:1), dugun (2:1), tigun (3:1), chaugun (4:1), aad (3:2), kuwaad (5:4).

Notation: matra numbers written above, theka syllables below, tali marked x, khali 0, vibhag separated by vertical lines. Example Teental: | x 2 3 4 | 0 6 7 8 | 9 10 11 12 | 13 14 15 16 |.

Tala in composition: bandish set to a tala; sam is the point of resolution. Mukhda (opening phrase) often lands on sam. Tihai: phrase repeated three times, ending on sam.

Jati: classification by number of matras-Tisra (3), Chatusra (4), Khanda (5), Misra (7), Sankirna (9). Used in layakari and paltas.

Tala identification: count matras, identify vibhag pattern, and theka. E.g., Jhaptal theka: Dhi Na Dhi Dhi Na | Ti Na Dhi Dhi Na. Ektal: Dhin Dhin Dha Ge Tirakita Tu Na | Kat Ta Dha Ge Tirakita Dhi Na.

Amir Khusrau (1253–1325): poet-musician in Delhi Sultanate; credited with introducing qawwali, tarana, and some ragas (e.g., Yaman, Zeelaf). Also associated with sitar? No, sitar is later. Attributed with inventing tabla? No, that is a legend.

Tansen (c. 1500–1586): court musician of Akbar; disciple of Swami Haridas. Composed ragas Miyan ki Malhar, Miyan ki Todi, Darbari Kanada (attributed). Known for deepak raga legend.

Bhatkhande (1860–1936): musicologist; authored Hindustani Sangeet Paddhati (4 vols), created the 10-thaat system, and notation system. Founded Marris College (now Bhatkhande Music Institute).

Vishnu Digambar Paluskar (1872–1931): revived Hindustani vocal music; founded Gandharva Mahavidyalaya (1901); introduced staff notation for Indian music; composed patriotic songs.

Abdul Karim Khan (1872–1937): founder of Kirana gharana; known for slow vilambit khayal, emphasis on swara and meend. Disciples: Begum Akhtar, Hirabai Barodekar, Bhimsen Joshi.

Faiyaz Khan (1886–1950): Agra gharana; known for nom-tom alankar, powerful voice, and khayal compositions. Title 'Aftab-e-Mausiqi' (Sun of Music).

Bhimsen Joshi (1922–2011): Kirana gharana; Bharat Ratna (2008); known for khayal, bhajan, and abhang. Popularized Marathi devotional music.

Onkar Nath Thakur (1897–1967): musicologist; authored Sangeetanjali; developed a notation system and contributed to raga classification.

Kumar Gandharva (1924–1992): revolutionary vocalist; known for unconventional raga treatment, fast tempos, and compositions; popularized ragas like Shuddha Kalyan and Bihag.

Vedic period (c. 1500–500 BCE): Sama Veda hymns sung with three-note scale; origins of Indian music. Natyashastra (c. 200 BCE–200 CE) by Bharata codifies raga, tala, and rasa.

Medieval period: Sanskrit treatises-Brihaddeshi by Matanga (6th–7th c.), Sangita Ratnakara by Sarangadeva (13th c.)-define raga and tala systems. Persian influence after 12th century.

Mughal era: Amir Khusrau (13th c.) introduced Persian elements, qawwali, tarana. Tansen (16th c.) codified ragas. Court patronage led to khayal and dhrupad development.

Dhrupad: oldest surviving vocal form, four parts-Sthayi, Antara, Sanchari, Abhog. Tempo slow, accompanied by pakhawaj. Dagar and Darbhanga traditions.

Khayal: emerged in 18th century, more ornamental and flexible than dhrupad. Two sections-Sthayi and Antara. Gharana system developed in 19th–20th centuries.

Thumri: semiclassical form, romantic/ devotional, developed in Lucknow and Banaras in 19th century. Associated with courtesans and musicians like Bindadin Maharaj.

20th century: institutionalization-Bhatkhande Music Institute (1926), Gandharva Mahavidyalaya (1901). All India Radio (1936) standardized raga performance and propagation.

Post-independence: Sangeet Natak Akademi (1952), National Centre for Performing Arts (1969). Fusion and global influence via Ravi Shankar, Ali Akbar Khan.

Tanpura: drone instrument, four strings (Pa, Sa, Sa, Sa or Ma, Sa, Sa, Sa). Provides continuous harmonic reference. Played with fingers, no frets.

Tabla: pair of drums-dayan (right, treble) and bayan (left, bass). Strokes: Dha, Dhin, Na, Tin, Ta, Ge, Ke. Used for tala accompaniment. Invented by Amir Khusrau? Legend.

Pakhawaj: barrel-shaped drum, used for dhrupad and dhammar. Strokes: Dha, Dhin, Ta, Tin, Na, Ge, Ghe. Lower pitch than tabla.

Harmonium: reed instrument, introduced by French in 19th century, adopted for vocal accompaniment. Provides pitch reference and melodic support.

Sitar: plucked string instrument, frets movable, sympathetic strings. Associated with Ravi Shankar. Derived from veena? Evolved in Mughal period.

Sarod: fretless plucked instrument, metal fingerboard, resonant tone. Associated with Amjad Ali Khan. Used in Hindustani classical.

Sarangi: bowed string instrument, played with fingernails, used to accompany vocalists. Known for imitating vocal nuances.

Shehnai: double-reed wind instrument, auspicious for weddings. Associated with Bismillah Khan. North Indian classical.

Santoor: hammered dulcimer, 100 strings, associated with Shivkumar Sharma. Used in Hindustani classical.

Raga presentation: alap (unmetered, slow introduction), jod (rhythmic pulse), jhala (fast). In khayal: alap, then vilambit khayal, then drut khayal.

Bandish structure: sthayi (first line, sam), antara (higher register), sanchari (middle), abhog (concluding). Composition set to tala; sam is resolution point.

Vocal technique: voice culture-breath control, pitch accuracy, ornamentation (meend, kan, gamak, murki). Practice palte (scales) and alankar.

Raga Yaman: tivra Ma, all other shuddha; aroha: Ni Re Ga Ma(tivra) Dha Ni Sa; avaroha: Sa Ni Dha Pa Ma(tivra) Ga Re Sa. Vadi: Ga; Samvadi: Ni. Time: early night.

Raga Bhairav: komal Re and Dha; aroha: Sa Re(k) Ga Ma Pa Dha(k) Ni Sa; avaroha: Sa Ni Dha(k) Pa Ma Ga Re(k) Sa. Vadi: Re; Samvadi: Dha. Time: morning.

Raga Bhairavi: all komal swaras (Re, Ga, Dha, Ni); aroha: Sa Re(k) Ga(k) Ma Pa Dha(k) Ni(k) Sa; avaroha: Sa Ni(k) Dha(k) Pa Ma Ga(k) Re(k) Sa. Vadi: Ma; Samvadi: Sa. Time: morning (or concluding).

Raga Malkauns: komal Ga, Dha, Ni; no Pa, no Re; aroha: Sa Ga(k) Ma Dha(k) Ni(k) Sa; avaroha: Sa Ni(k) Dha(k) Ma Ga(k) Sa. Vadi: Ma; Samvadi: Sa. Time: late night.

Raga Bihag: shuddha Ni, tivra Ma? Bihag: all shuddha except tivra Ma? Actually Bihag: shuddha Ni, Ga, Dha; tivra Ma in aroha? Bihag: aroha: Ni Sa Ga Ma Pa Ni Sa; avaroha: Sa Ni Dha Pa Ma Ga Re Sa. Vadi: Ga; Samvadi: Ni. Time: night.

Tarana: fast composition using syllables (nom tom, tana, dere, etc.) instead of lyrics. Often in drut laya. Composed by Amir Khusrau (attributed).

Reciting theka: speak syllables with hand gestures-tali (clap), khali (wave). Maintain steady laya. Practice Teental: Dha Dhin Na Tin Na Tin Na Dhin (or Dha Dhin Na Tin | Na Tin Na Dhin).

Teental theka: Dha Dhin Na Tin | Na Tin Na Dhin | Dha Dhin Na Tin | Na Tin Na Dhin. Tali on 1,5,9,13; khali on 5? Actually khali on 5 and 13? No, Teental: tali on 1,5,9,13; khali on 5 and 13? Let's confirm: Teental vibhag: 1-4 (tali), 5-8 (khali), 9-12 (tali), 13-16 (tali). So tali on 1,9,13; khali on 5.

Jhaptal theka: Dhi Na Dhi Dhi Na | Ti Na Dhi Dhi Na. Tali on 1,3,8; khali on 6. Matras: 10 (2+3+2+3).

Ektal theka: Dhin Dhin Dha Ge Tirakita Tu Na | Kat Ta Dha Ge Tirakita Dhi Na. 12 matras, 6 vibhags of 2. Tali on 1,5,9,11; khali on 3,7.

Rupak tala: 7 matras, 3+2+2. Theka: Tin Tin Na | Dhin Na | Dhin Na. Sam is khali (wave). Tali on 1? Actually sam is khali, so first beat is khali. Tali on 4 and 6? Rupak: khali on 1, tali on 4 and 6.

Layakari demonstration: barabar (same speed), dugun (double), tigun (triple), chaugun (quadruple). Show by clapping or reciting theka in different speeds.

Tihai: phrase repeated three times, ending on sam. Calculate tihai: if phrase length is X matras, three repetitions plus pause must equal tala cycle. E.g., in Teental (16), a tihai of 4 matras: 4+4+4+4 (pause) = 16.

Viva voce: define terms-sam, tali, khali, vibhag, matra, laya, theka. Identify tala from theka. Demonstrate raga characteristics (vadi, samvadi, aroha, avaroha, pakad).

Tala identification: count matras and vibhag pattern. E.g., 14 matras with 5+2+3+4 = Dhamar; 14 with 3+4+3+4 = Ada Chautal. 10 matras with 2+3+2+3 = Jhaptal.