Karnataka II PUC Hindustani Music (KSEAB) flashcards

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

Nada

In Hindustani music, nada is sound. Ahata nada is struck or perceived sound, while anahata nada is unstruck, metaphysical sound. Understanding nada is foundational to swara and raga.

Shruti

Shruti refers to 22 microtonal positions within an octave in Hindustani music. These are theoretical positions from which the seven swaras and their vikrit forms are derived.

Vadi and Samvadi

Vadi is the most important swara of a raga, like a king; samvadi is the second most important, like a queen. Anuvadi are helper notes; vivadi are dissonant and used sparingly.

Alankar

Alankar means ornamentation in Hindustani music. It includes kan (grace note), meend (glide), gamak (shake), murki (turn), and khatka (cluster), shaping raga phrases.

Thaat

Thaat is a parent scale system of ten scales codified by Bhatkhande: Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Purvi, Todi. Ragas are classified under these.

Ragang

Ragang refers to family resemblance among ragas through characteristic phrases. Examples include Kanhada ang, Malhar ang, and Bhairav ang, which help identify ragas sharing melodic idioms.

Jati (Audav, Shadav, Sampurna)

Jati classifies ragas by note count: audav uses five notes, shadav six, sampurna seven. Ascent and descent may differ, producing labels like Audav-Sampurna, as in Bhoopali.

Aroha and Avaroha

Aroha is the ascending scale of a raga; avaroha is the descending scale. They may differ in notes, and together with vadi and pakad they define raga identity.

Sam

Sam is the first beat of a tala cycle. It is the point of resolution and is marked by a clap (tali). Performers coordinate improvisation to arrive at sam.

Theka

Theka is the set of mnemonic syllables (bol) that identifies a tala. For example, Teental's theka is Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha.

Tali and Khali

Tali is a clap marking a vibhag (division) in a tala; khali is an empty beat marked by a wave. Khali often contrasts with tali to create rhythmic tension.

Layakari

Layakari is the art of tempo variation and subdivision. Barabar is equal tempo; dugun doubles, tigun triples, and chaugun quadruples the number of bols per matra.

Yaman

Yaman belongs to Kalyan thaat and uses tivra Ma. Its aroha is S R G tM P D N S; avaroha S N D P tM G R S. Vadi is Ga, samvadi Ni; performed in the evening.

Bhairav

Bhairav uses komal Re and Dha, with andolan on both. Aroha: S r G M P d N S. Vadi is Dha, samvadi Re. It is a morning raga of Bhairav thaat.

Bhoopali

Bhoopali is an audav raga of Bilawal thaat using S R G P D. Aroha: S R G P D S; avaroha: S D P G R S. Vadi is Ga, samvadi Dha; evening raga.

Malkauns

Malkauns is an audav raga of Bhairavi thaat using komal Ga, Dha, Ni. Aroha: S g M d n S; avaroha: S n d M g S. Vadi is Ma; late-night raga.

Teental

Teental is a 16-matra tala in four vibhags of 4. Tali falls on 1, 5, 13; khali on 9. Theka: Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha.

Jhaptal

Jhaptal is a 10-matra tala divided 2+3+2+3. Tali on 1, 3, 8; khali on 6. Theka: Dhi Na | Dhi Dhi Na | Ti Na | Dhi Dhi Na. Common in khayal.

Ektal

Ektal is a 12-matra tala in six vibhags of 2. Tali on 1, 5, 9, 11; khali on 3, 7. Theka: Dhin Dhin | Dha Ge | Tirakita | Tu Na | Kat Ta | Dha Ge | Dhin Na.

Rupak

Rupak is a 7-matra tala divided 3+2+2. Khali falls on sam (beat 1); tali on 4 and 6. Theka: Tin Tin Na | Dhin Na | Dhin Na. It is unusual for khali on sam.

Swaralipi

Swaralipi is musical notation for swaras. Shuddha notes are plain; komal are underlined; tivra Ma has a vertical line. Dots above or below indicate tar or mandra saptak.

Talalipi

Talalipi notates rhythm: matra numbers above, bol below, tali (x) and khali (0) at vibhag starts. Bar lines separate vibhags; double bar ends the cycle.

Meend notation

In swaralipi, meend (glide) is shown by a curved line connecting two notes. Kan is a small grace note before the main note; murki is a cluster of small notes.

Bhatkhande

Vishnu Narayan Bhatkhande (1860–1936) systematized the ten-thaat classification and wrote Hindustani Sangeet Paddhati. He founded Marris College, now Bhatkhande Music Institute, Lucknow.

Gwalior Gharana

Gwalior gharana is one of the oldest khayal schools, founded by Hassu Khan. It emphasizes clear swara articulation and is known for its structured khayal presentation.

Kirana Gharana

Kirana gharana, associated with Abdul Karim Khan and Sawai Gandharva, emphasizes slow, meditative khayal and precise sur. Bhimsen Joshi was its most famous modern exponent.

Dhrupad

Dhrupad is the oldest surviving vocal form, with four sections: sthayi, antara, sanchari, abhog. It is accompanied by pakhawaj and opens with free-rhythm alap.

Khayal

Khayal is the dominant modern vocal form, with sthayi and antara sections. It allows improvisation through alap, taan, and bol-taan, and is accompanied by tabla.

Tarana

Tarana is a fast rhythmic vocal form using syllables like nom, tom, dere, na. It has no meaningful text and showcases rhythmic agility, often in Teental.

Sadra

Sadra is a lighter classical vocal form, often set in Khamaj or Bhairavi. Its devotional text and moderate weight place it between dhrupad and khayal.

Tansen

Tansen (c. 1500–1586) was a court musician of Akbar and one of the navaratna. He is credited with ragas like Miyan ki Malhar, Darbari Kanada, and Miyan ki Todi.

Rasa

Rasa is the aesthetic emotion evoked in the listener, as theorized in the Natyashastra. Nine rasas include shringara, karuna, veera, and shanta. Bhava is the underlying emotional state.