Karnataka II PUC Hindustani Music (KSEAB) key terms

The foundational concept of sound in Indian music, understood as the raw acoustic substance from which all musical tones arise. Distinguished as ahata (struck, audible) and anahata (unstruck, inner) nada.

The smallest perceptible interval of pitch recognised in Indian music theory. Traditionally twenty-two shrutis are said to divide the octave, though their exact placement is debated in treatises.

A musical note or pitch selected from the shrutis and used in performance. Seven shuddha swaras form the basic scale, with five komal and two tivra alterations available.

The set of seven notes spanning an octave, named Sa, Re, Ga, Ma, Pa, Dha, Ni. The same set repeats at higher (tar) and lower (mandra) pitch levels.

An altered note, either komal (flattened) or tivra (sharpened), as opposed to the natural shuddha form. These alterations give each raga its distinctive colour.

The principal or king note of a raga, the pitch on which the raga's identity most strongly rests and which receives the greatest emphasis in performance.

The second most important note of a raga, typically a fourth or fifth from the vadi, which supports the vadi and helps establish the raga's character.

A supporting or assonant note in a raga, present in the scale but neither vadi nor samvadi. It assists in shaping phrases without dominating the raga's identity.

A dissonant note that appears in a raga's scale but is used sparingly or avoided in key phrases. Its treatment distinguishes closely related ragas from one another.

The ascending sequence of notes through which a raga is presented, from lower to higher pitch. It often differs in shape from the descending path.

The descending sequence of notes of a raga, moving from higher to lower pitch. Avaroha frequently includes extra notes or curves absent in the ascent.

A short, characteristic phrase that captures the essential identity of a raga. Recognising and reproducing the pakad is a practical test of raga knowledge.

The characteristic movement or gait of a raga, describing how its phrases flow in performance. It is broader than a single pakad and guides improvisation.

A parent scale of seven notes from which ragas are classified, as systematised by V. N. Bhatkhande. Ten thaats are conventionally recognised in modern Hindustani theory.

A family grouping of ragas that share distinctive melodic phrases or characteristic movements, such as Sarang ang or Kanhra ang. It links ragas by behaviour rather than scale alone.

The classification of a raga by the number of notes used in ascent and descent, such as audav (five), shadav (six) and sampurna (seven). Combinations yield terms like audav-sampurna.

A zigzag or non-linear movement in a raga's phrase, where notes are not taken in simple ascending or descending order. Vakra phrases often define a raga's identity.

The rhythmic cycle that organises beats in Hindustani music, defined by a fixed number of matras grouped into vibhags and marked by specific claps and waves.

A single beat or unit of time within a tala cycle. The number of matras determines the length of the cycle, such as sixteen in Teental.

A section or division of a tala cycle containing a group of matras. Vibhags are marked by claps (tali) or waves (khali) that guide the performer.

A clap marking a stressed vibhag within a tala cycle. Tali points are shown in notation by numbers or symbols and indicate important rhythmic accents.

A wave of the hand marking an unstressed or empty vibhag in a tala cycle, contrasting with the clapped tali sections. Khali is shown by the symbol 0 in notation.

The first and most important matra of a tala cycle, where the cycle begins and resolves. Performers aim to land compositions and improvisations on sam.

The standard spoken pattern of bols that identifies a tala, recited on the tabla or as syllables. It serves as the reference form for accompanying and for notation.

A rhythmic syllable such as dha, dhin, ta or tin used in tabla playing and recitation. Bols combine into theka patterns that define each tala.

The art of varying tempo relationships within a tala, including barabar (equal), dugun (double) and chaugun (quadruple) laya. It demonstrates rhythmic command.

The tempo or speed of a performance, broadly classified as vilambit (slow), madhya (medium) and drut (fast). Laya sets the pace for both composition and improvisation.

A slow tempo used especially in khayal, allowing elaborate ornamentation and gradual development of a raga. It is often paired with madhya or drut sections.

Written notation of notes, using symbols for swaras, octave markers and rhythmic divisions. It allows a composition to be recorded and reproduced by another musician.

Notation of tala, showing matras, vibhags, tali, khali and sam with symbols. It is combined with swaralipi to record complete compositions.

The first section of a composition, presenting the opening melodic line and usually returning to sam. In khayal it is the fixed refrain around which improvisation develops.

The second section of a composition, typically set in a higher register and following the sthayi. It completes the melodic structure of the bandish.

A fixed composition in khayal, comprising sthayi and antara set to a raga and tala. It provides the framework for improvisation by the performer.

The oldest surviving major vocal form, marked by a dignified style, a four-part structure and usually accompanied by the pakhawaj. Its text is often devotional.

The dominant modern vocal form, built on a bandish and elaborated through improvisation in vilambit and drut laya. It emphasises ornamentation and expressive freedom.

A fast vocal form using meaningless syllables such as nom, tom and dere instead of a poetic text. It showcases rhythmic agility and is often performed after khayal.

A school of Hindustani music defined by shared style, repertoire and lineage, such as Gwalior, Kirana or Agra. Gharanas transmit technique through teacher-disciple succession.

An aesthetic emotion or flavour evoked by a performance, such as shringara (love) or karuna (compassion). Rasa theory links musical mood to emotional response in the listener.

The study of beauty and emotional response in music, including how raga, tala and delivery combine to create mood. It underpins discussion of rasa and listener experience.