Technical Terminology of Hindustani Melodic Music
This domain tests the vocabulary candidates use to describe Hindustani melodic music. Definitions alone are not enough: the examiner expects correct application to a raga, a phrase, and a performance style.
Swara, shruti and saptak
- There are seven shuddha swaras: Sa, Re, Ga, Ma, Pa, Dha, Ni. Five vikrit forms produce twelve practical pitch positions: komal Re, Ga, Dha, Ni and tivra Ma.
- The 22 shrutis are theoretical microtonal positions used in textual discourse; they are not the same as the twelve keyboard-like swaras.
- Saptak means octave. Mandra, madhya and tara indicate lower, middle and upper registers; notation uses dots below or above to show them.
Functional swaras
Vadi is the most prominent swara, samvadi the second structural swara, anuvadi an auxiliary swara, and vivadi a swara that conflicts with the raga's character. A vivadi is not universally forbidden; its treatment depends on the raga and phrase.
Jati and gayan-shaili
Jati counts swaras in aroha and avaroha: audav is five, shadav six, sampurna seven. Mixed jatis are written in order, such as audav-sampurna. Gayan-shaili refers to a singing style or form, for example dhrupad, khayal, thumri or tarana.
Worked example
In Yaman, the aroha is S R G M^ P D N S and the avaroha is S N D P M^ G R S. Ga is vadi and Ni is samvadi; Re, M^, P and D are anuvadi; shuddha Ma is vivadi because Yaman uses tivra Ma. The jati is sampurna-sampurna. Reasoning: Ga is repeatedly sustained and shapes the ascent, Ni is the next structural pillar, and shuddha Ma would contradict the tivra-Ma identity.
Traps that cost marks
Do not confuse shruti with the twelve practical swaras. Do not call every unused note vivadi without checking context. Do not assign jati from a scale alone while ignoring the prescribed aroha and avaroha.