Maharashtra HSC Instrumental Music flashcards

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Thaat count in Bhatkhande system

Bhatkhande classified Hindustani ragas into exactly ten thaats: Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi, and Todi.

Melakarta chakra structure

The 72 melakartas are grouped into 12 chakras of six each. Mela number equals (chakra minus one) times six, plus position within the chakra.

Vadi and samvadi

Vadi is the most emphasized note of a raga; samvadi is the second most important, usually a fourth or fifth away. Together they define the raga's tonal centre.

Pakad definition

A short characteristic phrase that instantly identifies a raga. It must include the vadi and any distinctive vakra, kan, or meend movements unique to that raga.

Audava-shadava raga

A raga with five notes in aroha and six in avaroha. Example: Bhimpalasi omits Re and Dha ascending but includes them descending.

Teental structure

Sixteen matras in four vibhags of four. Tali falls on 1, 5, and 13; khali on 9. Sam is matra 1, the point of resolution.

Jhaptal theka

Ten matras in vibhags 2+3+2+3. Theka: dhi na | dhi dhi na | ti na | dhi dhi na. Tali at 1, 3, 8; khali at 6.

Dugun layakari

Playing two notes per matra, i.e., a 2:1 ratio of notes to beats. Tigun is 3:1 and chaugun is 4:1; aad is 3:2.

Khali in tala

The 'empty' division marked by a wave of the hand, usually carrying a lighter bol such as tin, ta, or kat. It contrasts with tali, marked by a clap.

Bhatkhande komal marking

In Bhatkhande notation, komal (flat) notes carry a horizontal stroke below the sargam letter; tivra Ma carries a vertical stroke above.

Paluskar notation script

V. D. Paluskar wrote swaralipi in Devanagari letters (sa re ga ma pa dha ni), marking komal with underlining and octaves with dots above or below.

Meend notation symbol

A curved line drawn between two notes indicates meend, a continuous glide. A small attached note indicates kan, a grace note.

Yaman characteristics

Evening raga of Kalyan thaat with tivra Ma and both shuddha Ni. Vadi is Ga, samvadi is Ni. Aroha: S R G M(t) P D N S.

Bhairav characteristics

Morning raga with komal Re and komal Dha. Vadi is Dha, samvadi is Re. Andolan on Re and Dha is its identifying feature.

Malkauns scale

Late-night audava-audava raga of Bhairavi thaat: S g M d n S. It omits Re and Pa entirely; vadi is Ma and samvadi is Sa.

Todi vs Multani

Both use komal Re, Ga, Dha and tivra Ma. Todi includes Re in aroha; Multani omits Re ascending and has a weaker Pa, giving a different pakad.

Rupak tala

Seven matras in vibhags 3+2+2. Khali falls on sam (matra 1); tali on 4 and 6. Theka: tin tin na | dhin na | dhin na.

Dhamar tala

Fourteen matras in vibhags 5+2+3+4. It accompanies the dhamar compositional form and Holi-themed songs; theka bols differ from Deepchandi.

Ektal usage

Twelve matras in four vibhags of three, with khali at 3 and 7. It is the standard tala for vilambit khayal in many gharanas.

Sthayi and antara

Sthayi is the first section of a composition, set in the lower register; antara follows in the upper register. Both are standard in khayal and dhrupad.

Maseetkhani gat

A slow instrumental composition in Teental, played in vilambit laya with elaborate alap-like development. It contrasts with the fast razakhani gat.

Dhrupad four parts

Sthayi, antara, sanchari, and abhog. Dhrupad is accompanied by pakhawaj and is the oldest surviving Hindustani vocal form.

Tarana bols

A fast rhythmic vocal form using meaningless syllables such as nom tom, dere na, tana na. It usually concludes a khayal performance.

Purandara Dasa contribution

Called the Karnataka Sangita Pitamaha, he systematized elementary lessons (sarali, janti, alankara) and composed thousands of devotional songs in the 16th century.

Gwalior gharana founders

Founded by Hassu Khan, Haddu Khan, and Nathu Khan. Known for bol-taan, clear raga presentation, and emphasis on the bandish text.

Kirana gharana style

Founded by Abdul Karim Khan. Known for slow, sustained meend, emphasis on vilambit khayal, and minimal bol-taan, with great attention to shruti purity.

Sitar string arrangement

Six or seven main playing strings plus eleven to thirteen sympathetic tarab strings. Frets are tied with thread and can be moved for tuning.

Tabla syahi function

The black spot on the drum head controls pitch and overtones. Tuning is done by hammering the syahi or adjusting the woven straps.

Tanpura tuning

Four strings tuned Pa-Sa-Sa-Sa, or Ma-Sa-Sa-Sa for ragas that omit Pa. The jawari bridge shape determines sustain and tonal colour.

Navarasa list

Nine rasas: shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta, shanta. They originate in Bharata's Natyashastra.

Rasa versus bhava

Bhava is the emotion expressed by the performer; rasa is the aesthetic experience evoked in the listener. Rasa arises when bhava is fully communicated.

Jhala technique

Fast rhythmic strokes on the chikari (drone) strings, used to conclude an instrumental performance after alap and jod. It builds intensity and rhythmic drive.