Odisha CHSE +2 Vocational Hindustani Vocal key terms

A musical pitch used in Hindustani music; the seven basic notes Sa Re Ga Ma Pa Dha Ni are sung in ascending and descending order. Each svara is treated as a living entity with its own character and intonation.

The set of seven svaras forming one octave. It appears in three registers: mandra (lower), madhya (middle) and taar (upper), and a raga's movement across these registers shapes its mood.

The speed or tempo of musical movement, measured against the tala cycle. It is broadly grouped as vilambit (slow), madhya (medium) and drut (fast), and laya is the framework within which improvisation breathes.

A repeating rhythmic cycle of fixed beats used to organise Hindustani compositions and improvisation. Each tala has a name, a beat count, a division pattern and a characteristic theka played on tabla.

A single beat or rhythmic unit within a tala cycle. Counting matras aloud in a prescribed hand pattern is the basic skill of tala practice, and each matra carries a specific bol.

A section or group of matras into which a tala cycle is divided. Divisions are marked by claps, waves or silent gestures, and the pattern of vibhags gives each tala its distinctive shape.

The first and most important matra of a tala cycle, marked by a clap. Melodic and rhythmic phrases are designed to resolve on sam, making it the point of arrival in composition and improvisation.

A clapped beat that marks the start of a vibhag in a tala. Tali beats are sounded on the hand, and their number and position differ from tala to tala, helping performers track the cycle.

A waved or silent beat marking a vibhag, felt by a light movement of the hand instead of a clap. Khali creates an open, unaccented quality and is essential to the identity of talas such as Teental and Jhaptal.

The ascending order of svaras in a raga, from lower to higher pitch. It may be complete, omit certain notes or move in a crooked path, and it is one of the first facts a student learns about any raga.

The descending order of svaras in a raga, from higher to lower pitch. Comparing aroha and avaroha reveals a raga's jati and often explains why a raga sounds different going up and coming down.

A short, recognisable phrase that captures the essential identity of a raga. Singing the pakad correctly is the quickest proof that a performer is in the right raga and not merely running a scale.

The characteristic movement of a raga through its phrases, showing how notes are approached, ornamented and left. Chalan is broader than pakad and describes the raga's gait across the whole octave.

The principal or most emphasised note of a raga, sometimes called the king note. It receives the most emphasis and ornamentation, and phrases tend to return to it for rest.

The second most important note of a raga, often called the queen note. It supports the vadi and usually stands a fourth or fifth away from it, giving the raga its tonal balance.

A note that appears in a raga but carries no special importance, serving as a passing or supporting tone. Anuvadi notes fill the melodic line between the vadi and samvadi.

A note that is present in a raga's scale but is treated as dissonant or forbidden in practice. Its accidental use is considered a fault, and it is usually avoided in phrases and improvisation.

The classification of a raga by how many notes it uses in ascent and descent. The main types are audav (five), shadav (six) and sampurna (seven), and a raga may be audav-sampurna or shadav-shadav, for example.

Written notation of Indian music in which svaras are recorded as symbols, usually with marks for octave, duration and rhythm. It allows a composition to be preserved and taught away from the teacher's voice.

A notation method devised by V. N. Bhatkhande that writes svaras in Devanagari with lines and dots marking octave and rhythm. It is widely used in textbooks and remains the common notation of north Indian music teaching.

A notation method associated with Vishnu Digambar Paluskar that uses abbreviations and signs for svaras, with specific symbols for octave and time. It is taught alongside the Bhatkhande system in many institutions.

The standard set of tabla bols that expresses a tala's cycle, played so that each matra is clearly audible. A vocalist must know the theka of every tala in which they perform, even without playing tabla.

A sixteen-matra tala divided into four vibhags of four matras each, with khali on the ninth matra. It is the most common cycle for khayal in vilambit and drut laya, and its theka begins dha dhin dhin dha.

A ten-matra tala divided into vibhags of two, three, two and three matras, with khali on the sixth matra. Its asymmetric division makes it a favourite for madhya-laya khayal and for compositions in ragas like Bageshri.

A twelve-matra tala divided into six vibhags of two matras each, with khali on the third and ninth matras. It is often used for vilambit khayal and demands careful tracking because of its many divisions.

A seven-matra tala divided into three vibhags of three, two and two matras, unusual because its khali falls on the first matra rather than sam. Singers must therefore treat the opening beat with special care.

An eight-matra tala divided into two vibhags of four matras, with khali on the fifth matra. Its simple, lively character makes it common in thumri, folk-influenced pieces and light classical singing.

A six-matra tala divided into two vibhags of three matras, with khali on the fourth matra. It is widely used for thumri, bhajan and light compositions, and its gentle lilt suits expressive singing.

The oldest surviving form of Hindustani vocal music, sung in a slow, austere style with a four-part structure and usually accompanied by pakhawaj. It emphasises precise raga development, nom-tom syllables and a devotional dignity.

A vocal form closely related to dhrupad, sung in Dhamar tala of fourteen matras and associated with the Holi festival. Its compositions describe Krishna's play and use a lighter, more playful melodic style than dhrupad.

The dominant Hindustani vocal genre, built on a short composition (cheez) in a raga and tala, expanded through improvisation. It has vilambit and drut forms and allows wide freedom for alap, taan and bol-banao.

A light classical vocal form with romantic or devotional lyrics, sung with flexible phrasing and expressive ornament. It often uses ragas like Khamaj and Pilu and is less bound by strict raga rules than khayal.

A lively light classical form from Punjab, known for quick, twisting taans and a fast, restless rhythmic character. Its lyrics are usually short and its melody moves in rapid turns rather than sustained phrases.

A fast composition sung to meaningless syllables such as tom, nom, ta, na, used to display rhythmic skill and speed. It resembles khayal in structure but replaces poetic text with percussion-like syllables.

A school of Hindustani music tracing its style to a particular lineage, city or family. Each gharana has characteristic phrasing, ornamentation and repertoire, and the major vocal gharanas include Gwalior, Kirana, Agra and Jaipur.

The systematic training of the singing voice for pitch accuracy, stamina, breath control and tonal beauty. It includes warm-ups, correct posture, safe practice habits and gradual expansion of range without strain.

The opening, unmetred unfolding of a raga in slow, free rhythm, introducing its notes and phrases before the composition begins. In dhrupad, alap is elaborate and uses nom-tom syllables; in khayal it is shorter.

A fast, patterned melodic run used in khayal and other forms to display technique and rhythmic command. Taans may be simple, twisted or bol-based, and they must stay within the raga's phrases and the tala's cycle.

Reading a written swaralipi and singing it correctly at first sight, with accurate pitch, octave marks and rhythm. It is a practical exam skill that tests both notation literacy and control of laya.