BSEH SS Music Vocal key terms

The overarching concept of sound in Indian music theory, divided into anahata (unstruck, cosmic sound) and ahata (struck or produced sound). All musical tone is treated as a form of ahata nad.

The smallest perceptible interval of pitch recognized in Indian music theory. Tradition names twenty-two shrutis within the octave, though modern practice treats them as microtonal positions rather than fixed frets.

A single musical note considered as a meaningful tonal entity. Seven shuddha swaras (Sa Re Ga Ma Pa Dha Ni) form the basic scale, with komal and tivra alterations giving twelve positions in common use.

The octave of seven notes, from Sa to the next Sa. It is described in three registers: mandra (lower), madhya (middle) and taar (upper), and exercises are practised across all three.

An ancient system of scale arrangement described in treatises such as the Natyashastra, based on groups of notes with specific shruti placements. Gram and murcchana together explain how older scales generated modes.

A mode produced by shifting the starting note of a scale while keeping the same sequence of intervals. Ancient theory used murcchana to derive many melodic forms from a single gram.

A melodic framework defined by a set of ascending and descending notes, characteristic phrases, a dominant note and a mood. A raga is elaborated through alaap and compositions rather than performed as a fixed tune.

The ascending order of notes used in a raga. Some ragas omit notes in ascent or use different notes going up and coming down, so aroha must be learned separately from avaroha.

The descending order of notes of a raga. Where aroha and avaroha differ, the raga is called vakra or non-linear, and the descent often reveals characteristic phrases of the raga.

A short, recognisable phrase or set of phrases that identifies a raga. The pakad captures the raga's essential movement and is used both in teaching and as a test of correct improvisation.

The characteristic movement or gait of a raga, showing how its notes are approached, ornamented and combined. Chalan is broader than pakad and guides phrasing throughout a performance.

The most important or dominant note of a raga, around which the melody revolves and which receives the greatest emphasis. Performers often pause or rest on the vadi during alaap.

The second most important note of a raga, usually a fourth or fifth from the vadi. The vadi–samvadi relationship shapes the tonal centre and balance of a raga.

The unmetred, unmetered exposition of a raga that opens a performance. It unfolds note by note, usually from the lower register upward, without tabla accompaniment and without fixed rhythm.

The systematic expansion of a raga in alaap, developing phrases gradually and increasing range and complexity. In khayal, vistaar may also occur within the composition using the words of the bandish.

A fast, patterned melodic passage sung in a raga, often in groups of three or four notes. Taan demonstrates technique and rhythmic control and is usually performed with tabla accompaniment.

A composed song in a raga and tala, with text, melodic setting and rhythmic structure. A khayal bandish has a sthayi and an antara and serves as the base for improvisation.

The first section of a composition, usually setting the opening line of text in the lower and middle register. The sthayi establishes the raga and tala and returns as a refrain.

The second section of a composition, generally using the upper register and the latter part of the text. It follows the sthayi and contrasts with it in range and melodic movement.

A long-necked drone instrument whose four strings are tuned to the tonic and related notes. Its continuous sound provides the pitch reference against which a singer tunes and performs.

A sixteen-beat tala in four vibhags of four matras, with sam on beat one and khali on beat nine. It is the most common cycle for khayal and for compositions in madhya or drut laya.

A twelve-beat tala divided into six vibhags of two matras. It is widely used for vilambit khayal and for dhrupad, with claps and waves marking its sections.

A ten-beat tala arranged in four vibhags of 2+3+2+3 matras. Its uneven grouping gives a distinctive swing and it is common in khayal and in some light compositions.

A seven-beat tala with vibhags of 3+2+2, unusual because its sam falls on a khali section. Singers must therefore mark the beginning of the cycle with a wave rather than a clap.

A six-beat tala in two vibhags of three matras, with khali on beat four. It is common in thumri, dadra and light-classical songs and is often played at a relaxed tempo.

An eight-beat tala in two vibhags of four matras, widely used in bhajan, folk and light music. Its simple structure suits devotional and popular song forms.

The first and most important beat of a tala cycle, where the rhythmic phrase resolves. Performers coordinate improvisation and composition so that key phrases land on sam.

A marked position in a tala cycle shown by a wave of the hand rather than a clap, indicating a relatively empty or unaccented section. Khali helps performers track the cycle.

A bar or section of a tala cycle containing a fixed number of matras. Vibhags are marked by claps or waves and define the tala's internal grouping, such as 4+4+4+4 in teental.

Tempo, the speed at which a tala cycle is performed. It is described as vilambit (slow), madhya (medium) and drut (fast), and laya can be doubled or halved systematically.

The art of playing with tempo, including barabar, dugun, tigun and chaugun, where the rhythmic density doubles, triples or quadruples against the underlying cycle. Layakari is a mark of rhythmic mastery.

A notation system devised by V. N. Bhatkhande using Devanagari script, with symbols for komal and tivra notes, dots for register and vertical lines dividing the tala cycle. It remains standard in Hindustani teaching.

A notation system associated with Vishnu Digambar Paluskar, using Devanagari with its own signs for altered notes, register and rhythm. It differs from Bhatkhande notation in symbols and layout conventions.

The oldest surviving major vocal form, sung in a slow, austere style with a long alaap and a metrical composition. It is usually accompanied by pakhawaj and features nom-tom and bol-bant improvisation.

A vocal form related to dhrupad, sung in the fourteen-beat dhamar tala and often associated with the Holi festival. Its compositions are more playful and rhythmic than austere dhrupad.

The dominant modern vocal form, built on a bandish with sthayi and antara, elaborated through alaap, bol-bant, taan and sargam. It is sung in vilambit and drut tempos, often in teental or ektaal.

A fast vocal composition using meaningless syllables such as nom, tom, dere, na instead of text. It is used to display rhythmic and melodic skill, often closing a khayal performance.

A light-classical vocal form with romantic or devotional text, sung with expressive ornament and flexible rhythm. It is associated with the Banaras and Lucknow traditions and often uses dadra or keharwa tala.

A devotional song, usually in Hindi or a regional language, expressing love for a deity. Bhajans often use simple ragas and talas such as keharwa and welcome audience participation.

A school or lineage of musicians sharing a style, repertoire and teaching tradition, often named after a city or region. Gharanas such as Gwalior, Agra, Kirana and Jaipur differ in voice production and ornament.

A musicologist and educator who systematised Hindustani ragas into ten thats, collected compositions and published notation in works such as Hindustani Sangeet Paddhati. He founded music colleges and shaped modern pedagogy.

A singer and educator who founded the Gandharva Mahavidyalaya and promoted open, institutional music education. He devised a notation system and published graded textbooks that spread written music teaching.

A parent scale of seven notes used by Bhatkhande to classify ragas into ten groups. A that is a theoretical scale; a raga drawn from it uses a subset of notes with its own phrases and rules.

An older classification scheme pairing ragas as male and raginis as female, often illustrated in miniature paintings. Modern practice uses mela or that systems instead of this poetic taxonomy.