BSEH Secondary Music Vocal key terms

The general term for sound in Hindustani music theory. It is divided into ahata (struck or produced sound) and anahata (unstruck, inner sound), and all musical study begins with understanding it.

The smallest perceptible interval of pitch recognised in Indian music theory. Tradition names twenty-two shrutis within the octave, though modern practice tunes to twelve semitones.

A musical note or pitch used in singing and playing. The seven shuddha swars are Sa, Re, Ga, Ma, Pa, Dha and Ni, each with a fixed position in the octave.

The set of seven notes forming one octave. It appears in three registers: mandra (lower), madhya (middle) and tar (upper), and singers are expected to move cleanly between them.

A altered note, either komal (flattened) or tivra (sharpened). Ma has only a tivra form, while Re, Ga, Dha and Ni each have shuddha and komal forms.

A flattened note, positioned a semitone below its shuddha form. Re, Ga, Dha and Ni may be komal, and their use strongly colours ragas such as Bhairav and Todi.

A sharpened note. In Hindustani practice only Ma is tivra, raised a semitone above shuddha Ma, and it appears in ragas such as Yaman and Puriya.

The principal or king note of a raga, the pitch on which the raga's identity most depends. It receives the greatest emphasis and is often the goal of phrases.

The second most important note of a raga, the minister to the vadi. It supports the raga's character and is usually a fourth or fifth away from the vadi.

A supporting or assonant note in a raga, subordinate to the vadi and samvadi. It fills out melodic movement without defining the raga's core identity.

A dissonant note in relation to a raga, generally avoided or used only in passing. Its presence can distort the raga's character and is treated with caution.

The ascending order of notes in a raga, showing which pitches are taken and which are skipped going upward. It often differs from the descending order.

The descending order of notes in a raga. Because many ragas use different notes ascending and descending, avaroha is essential to identifying the raga correctly.

A short, characteristic phrase that captures the essence of a raga. Singers use it to identify the raga quickly and to anchor improvisation within its grammar.

The characteristic melodic movement or gait of a raga, broader than a single pakad. It describes habitual phrases, turns and note patterns that mark the raga's personality.

The gradual, systematic unfolding of a raga in performance, usually beginning in the lower and middle register. It proceeds from simple phrases to increasingly elaborate movement.

The unmetred, improvised opening of a raga performance, sung without tabla. It introduces the notes slowly and establishes the raga's mood before rhythmic composition begins.

A composed song or fixed piece set in a raga and tala, with text and melodic structure. It serves as the base for improvisation in khayal and dhrupad performance.

The first section of a bandish, usually covering the lower and middle register and returning to the sam. In dhrupad it is the opening verse section.

The second section of a bandish, generally moving into the upper register. It contrasts with the sthayi and often carries the later lines of the song text.

The rhythmic cycle of Hindustani music, defined by a fixed number of beats, a pattern of divisions and a set of hand gestures used to mark it.

A single beat or unit within a tala cycle. The matra is the basic counting unit, and each tala is defined by how many matras it contains.

A division or group of matras within a tala cycle, marked by a clap, a wave or a silent gesture. Vibhags give the cycle its internal shape.

The first and most important beat of a tala cycle, marked by a clap. Melodic and rhythmic phrases normally resolve on sam, and it anchors the whole performance.

A clapped beat that marks the start of a vibhag in a tala. Each tali has a number, and the pattern of talis and khalis identifies the tala.

A waved or empty beat marking a vibhag, shown by an open hand rather than a clap. It signals a lighter point in the cycle and helps performers track position.

The tempo or speed of a performance, relative to the tala cycle. It is described as vilambit (slow), madhya (medium) or drut (fast), and layakari is the art of playing with it.

The deliberate use of rhythmic variation against the tala, such as singing two, three or four notes per beat. It demonstrates control and is developed systematically in practice.

The standard spoken pattern of bols used to recite a tala. It is played on tabla and recited in viva voce to show command of the cycle's structure.

The spoken syllables of tabla or pakhawaj, such as dha, dhin, ta, tin, na and ge. Each bol corresponds to a stroke and is used in recitation and notation.

The notation system for writing Indian music, showing notes, register marks, rhythmic divisions and the tala cycle. It allows a composition to be preserved and reproduced.

A school or lineage of musicians sharing a style, repertoire and teaching tradition. Gharanas such as Gwalior, Kirana and Agra preserve distinct approaches to khayal singing.

The dominant vocal form of modern Hindustani music, built on a short bandish and extended through improvised phrases. It emphasises melodic imagination and rhythmic play.

The oldest surviving major vocal form, sung with a slower, more austere style and usually accompanied by pakhawaj. It develops through alaap, jod and composed verses.

A light classical vocal form with romantic or devotional text, allowing flexible treatment of raga and tala. It emphasises expression and ornament over strict structural expansion.

A long-necked drone instrument with four strings, plucked continuously to provide a steady reference pitch. It supports the singer's tuning and is essential in vocal practice.

A pair of hand drums, the smaller dayan and larger bayan, used to accompany Hindustani music. It plays theka and solo compositions and defines the tala cycle.

A barrel-shaped two-headed drum, the traditional accompaniment for dhrupad and related forms. Its bols and resonant tone differ from those of the tabla.