KSEAB SSLC Hindustani Music key terms

The fundamental concept of sound in Hindustani music, understood as the raw acoustic vibration from which all musical material is drawn. It is classified as ahata (struck or audible) and anahata (unstruck or inner).

The smallest perceptible interval of pitch recognised in Indian music theory. Traditionally twenty-two shrutis are said to exist within the octave, and they form the microtonal basis from which the seven svaras are selected.

A single musical note or pitch position in the Indian scale, named Sa, Re, Ga, Ma, Pa, Dha, Ni. Each svar has a fixed position in the saptak and may be shuddha or vikrit depending on the raga.

The set of seven svaras forming one octave, from Sa to the higher Sa. In practice three registers are used: mandra (lower), madhya (middle) and taar (upper) saptak.

A natural or unaltered note, positioned at its basic scale degree. There are seven shuddha svaras in the standard scale, and they form the reference against which komal and tivra notes are measured.

A flattened note lowered from its shuddha position. In the standard scale Re, Ga, Dha and Ni each have a komal form, used in ragas such as Bhairav, Kafi and Asavari.

A sharpened note raised above its shuddha position. Only Ma has a tivra form in the standard seven-note scale, written as Ma(t) and heard in ragas such as Yaman and Puriya.

The principal or king note of a raga, the pitch on which the raga's identity most depends and which is given the greatest emphasis and dwell. Its prominence shapes phrases and often the concluding cadence.

The second most important note of a raga, the minister to the vadi. It is usually a fourth or fifth away from the vadi and supports the raga's character without displacing the principal note.

A supporting or assisting note in a raga, subordinate to the vadi and samvadi. Anuvadi svaras fill out phrases and connect important pitches but are not emphasised as focal points.

A note that is foreign or dissonant to a particular raga and is therefore avoided or used only with great care. Its appearance would distort the raga's identity, so it is treated as excluded.

The ascending order of notes used in a raga, from lower pitch to higher. It may be straight (all seven notes) or vakra (zigzag), and it often differs from the descending order.

The descending order of notes of a raga, from higher pitch to lower. Ragas frequently use more notes or different movements in avaroha than in aroha, which helps distinguish similar ragas.

A melodic framework in Hindustani music defined by a fixed set of notes, ascending and descending patterns, principal notes, characteristic phrases and a mood. It provides material for improvisation and composition rather than a fixed tune.

A short, recognisable phrase or set of phrases that captures the essential character of a raga. Hearing the pakad allows a listener to identify the raga, and performers use it to establish the raga quickly.

The characteristic movement or gait of a raga, describing how phrases travel through its notes. It covers typical turns, emphases and resting points, and is broader than a single identifying phrase.

A note used in a crooked or out-of-sequence manner within a raga's aroha or avaroha. Such zigzag movement, for example Sa-Re-Ga-Pa-Ma-Ga, is a defining feature of certain ragas.

A parent scale of seven notes from which ragas are grouped in the Bhatkhande system of classification. Ten thaats exist, and each raga is assigned to the thaat whose notes most closely match its scale.

Written notation of svaras, the Indian equivalent of a score. It records the notes of a composition along with symbols for octave, duration, tala divisions and ornaments so that the piece can be reproduced.

A fixed composition in Hindustani music, usually set in a raga and tala with text, a sthayi and an antara. It is the structural anchor for improvisation in khayal and dhrupad performance.

The first section of a bandish, presenting the opening line of text and usually confined to the lower and middle register. It returns as a refrain and is the reference point for improvisation.

The second section of a bandish, following the sthayi and typically moving into the upper register. Its text and melody contrast with the opening and it is sung after the sthayi in performance.

The rhythmic cycle in Hindustani music, a repeating pattern of beats divided into groups. Each tala has a fixed number of matras and specific clap and wave positions that mark its structure.

A single beat or unit of time within a tala cycle. The number of matras defines the length of the cycle, for example sixteen in Teentaal and seven in Rupak.

The first and most important beat of a tala cycle, marked by a clap. It is the point of resolution where melodic phrases and compositions come to rest, and it is emphasised in performance.

A clap marking a stressed division within a tala cycle. Talis are shown by hand claps and their positions vary by tala; Teentaal, for instance, has talis on beats 1, 5 and 13.

A wave of the hand marking an unstressed division of a tala cycle, literally the empty or vacant beat. It contrasts with the clapped talis and helps performers track position in the cycle.

The tempo or speed of rhythmic movement in performance. It is described as vilambit (slow), madhya (medium) or drut (fast), and a performer may gradually change laya within a piece.

A sixteen-matra tala divided into four groups of four, with talis on 1, 5 and 13 and khali on 9. It is among the most common cycles for khayal, tarana and instrumental compositions.

A twelve-matra tala divided into six groups of two, with talis on 1, 5, 9 and 11 and khali on 3 and 7. It is widely used for vilambit khayal and dhrupad.

A ten-matra tala divided into groups of two, three, two and three, with talis on 1, 3 and 8 and khali on 6. It appears in khayal and in some instrumental compositions.

A seven-matra tala divided into groups of three, two and two, unusual because its opening sam is counted as khali rather than tali. Talis fall on beats 4 and 6.

The dominant vocal form of modern Hindustani music, setting a short bandish in a raga and tala and expanding it through improvised alap, taan and bol patterns. It is sung in vilambit and drut laya.

A fast vocal composition using rhythmic syllables such as nom, tom, dere, na rather than meaningful text. It showcases rhythmic skill and is often performed to conclude a khayal recital.

An older, austere vocal form with a four-part structure of sthayi, antara, sanchari and abhog, sung in a slow, expansive style. It is accompanied by pakhawaj rather than tabla and emphasises precise raga development.

The opening, unmeasured exposition of a raga, performed without tala and usually without percussion. It unfolds the raga note by note, gradually revealing its phrases and mood before the composed section begins.

A fast, patterned melodic run used in khayal and instrumental performance to display technique and rhythmic command. Taan phrases may be sung in sargam (note names) or as vowel sounds.

Singing or playing using the syllable names of the notes, Sa Re Ga Ma Pa Dha Ni, instead of text. It is used in exercises, in taan and to demonstrate a raga's structure clearly.

A school or lineage of Hindustani music defined by a distinctive style, repertoire and teaching tradition passed from guru to disciple. Well-known vocal gharanas include Gwalior, Kirana and Agra.

The traditional oral system of music transmission in which a disciple lives and learns closely with a guru over years. It preserves repertoire and style through direct imitation and personal instruction rather than written texts.