Odisha CHSE +2 Vocational Flute / Violin / Sitar flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Ahata and Anahata Nada

Ahata nada is struck or produced sound, including vocal and instrumental music; anahata nada is unstruck, internal sound. Musical nada needs definite pitch, steady volume, and pleasing timbre.

Shruti Count

Shruti is a microtonal pitch unit. Classical theory counts 22 shrutis in a saptak, while practical modern tuning works on a 12-semitone grid covering the seven shuddha and five vikrit swaras.

Vikrit Swara Forms

Sa and Pa have no komal form. Re, Ga, Dha, and Ni each have a komal (lowered) form, and Ma has a tivra (raised) form, giving twelve swara positions in the octave.

Bhatkhande Notation Marks

Shuddha swaras are written S R G M P D N. A stroke beneath marks komal, a line above marks tivra Ma, and dots below or above mark mandra or tar saptak.

Vadi and Samvadi

Vadi is the principal swara of a raga and samvadi the second most important, usually a fourth or fifth away. Anuvadi are supporting notes and vivadi are excluded or dissonant notes.

Yaman Raga Profile

Yaman uses tivra Ma, has vadi Ga and samvadi Ni, and is performed in the first prahar of night. Its pakad is Ni Re Ga, Ma(tivra) Pa, Dha Ni Sa.

Bhoopali Versus Deshkar

Both omit Ga and Dha. Bhoopali has vadi Ga and samvadi Dha and uses Pa in both directions; Deshkar omits Pa in aroha and has vadi Dha, which separates the two.

Bhairav Andolan Treatment

Bhairav uses komal Re and komal Dha with vadi Dha and samvadi Re, in the first prahar of morning. The slow oscillation on komal Re and Dha establishes the raga.

Bhairavi As Closing Raga

Bhairavi uses komal Re, Ga, Dha, and Ni, with vadi Ma and samvadi Sa. It is traditionally performed last in a concert regardless of the time of day.

Malkauns Structure

Malkauns is audava, omitting Re and Pa, with vadi Ma and samvadi Sa. It belongs to the third prahar of night and requires a slow, grave unfolding of its phrases.

Prahar System

Prahar are the eight three-hour periods of the day used to assign ragas to times. Sandhi-prakash ragas such as Ahir Bhairav and Marwa sit at the junctions of day and night.

Teental Structure

Teental is a 16-matra cycle in four vibhags of four. Tali fall on matras 1, 5, and 13, khali on matra 9, and the theka begins Dha Dhin Dhin Dha.

Jhaptal Structure

Jhaptal is a 10-matra cycle in vibhags of 2+3+2+3. Tali fall on matras 1, 3, and 8, khali on matra 6, and the theka is Dhi Na Dhi Dhi Na Ti Na Dhi Dhi Na.

Rupak Khali Opening

Rupak is a 7-matra cycle in vibhags of 3+2+2 that begins on khali, so sam is also khali. Tali fall on matras 4 and 6, with theka Tin Tin Na Dhin Na Dhin Na.

Kaharwa and Dadra

Kaharwa is 8 matras in two vibhags of four, tali on 1 and khali on 5. Dadra is 6 matras in 3+3, tali on 1 and khali on 4; both suit light compositions.

Dugun Tigun Chaugun Counts

Layakari subdivides each matra. In teental, dugun gives 32 strokes per cycle, tigun 48, and chaugun 64, and the phrase must land on sam at the cycle end.

Sam Tali Khali Distinction

Sam is matra 1 and the point of resolution. Tali is an accented vibhag marked by a clap, while khali is unaccented and marked by a wave; sam and tali are not identical.

Sitar Main String Tuning

The first string (baj) is tuned to Pa or Ma of the raga, and the remaining main strings to Sa, Sa, mandra Sa, mandra Pa, and mandra Sa. Tarab strings follow the raga's notes.

Mizrab Da and Ra

The mizrab is worn on the right index finger. Da is the inward stroke and Ra the outward stroke, and the choice between them sets accent and string crossing.

Sitar Meend Technique

The left hand stops strings with index, middle, and ring fingers. Meend is produced by pulling the string across the tied frets, which can be moved to set the raga's scale.

Hindustani Violin Hold

The violin rests against the chest or shoulder with the scroll level or downward, and the bow is held in the palm rather than the Western grip, allowing sliding meend in the fingering hand.

Violin Bow Tone Control

Bow pressure, speed, and contact point shape tone. Slow heavy bow near the bridge gives full tone; light fast bow near the fingerboard gives a thin, airy sound.

Bansuri Komal and Tivra

Six or seven holes are closed in sequence from index to little finger. Komal notes need partial hole opening, and tivra Ma needs a specific half-hole with breath adjustment.

Alap Jod Gat Order

Solo presentation proceeds from unmetered alap, to jod or nom-tom with pulse but no tala, to a gat or bandish in tala, then vistar, toda, and layakari, ending drut.

Masitkhani and Razakhani Gat

Masitkhani gat is the slow composition in vilambit teental; razakhani gat is the fast composition in drut teental. Stroke density and tempo separate the two types.

Bandish Sthayi Antara

Sthayi is the opening section in the lower and middle register; antara follows in the tar saptak. The text must return to sam on the correct syllable of the tala cycle.

Palta Alankara Drill

Palta applies a fixed pattern to each swara in sequence, for example S R G, R G M, G M P. The pattern is transposed across the saptak and repeated in avaroha.

Pre-Performance Tuning Check

Confirm tonic Sa against a tanpura or drone, then check the fifth and octave. Any drifting tarab string must be re-tuned before the alap begins.

Maihar Gharana

Associated with Allauddin Khan and carried by Ravi Shankar, Nikhil Banerjee, Ali Akbar Khan, and Annapurna Devi, it is known for systematic technique and raga breadth.

Imdadkhani Etawah Gharana

Founded by Imdad Khan and continued by Inayat Khan and Vilayat Khan, this sitar lineage is identified with gayaki ang, vocal-style phrasing, and the surbahar repertoire.

Hindustani Violin Exponents

The violin entered Hindustani music through Baluswami Dikshitar and later Allauddin Khan. V. G. Jog and N. Rajam are leading exponents, Rajam noted for gayaki ang.

Pannalal Ghosh Contribution

Pannalal Ghosh is credited with establishing the bansuri as a concert instrument, extending its range and composing raga-based pieces. Hariprasad Chaurasia followed as a leading exponent.