Maharashtra HSC Instrumental Music key terms

A ten-scale system devised by V. N. Bhatkhande for classifying North Indian ragas by their parent scale, each thaat having all seven swaras in a fixed ascending-descending form. Ragas are grouped under the thaat whose notes they share most closely.

The 72 parent scales of Carnatic music, each containing all seven swaras in ascent and descent in a fixed order. Every janya raga is derived from one melakarta by omitting, delaying, or altering notes.

A Carnatic raga derived from a parent melakarta scale, usually by leaving out one or more notes, by varying them in ascent versus descent, or by using only a pentatonic or hexatonic set. It has no independent scale of its own.

The ascending and descending order of notes that defines a raga's melodic outline. Many ragas use different notes or skip notes in ascent and descent, so both lines must be stated to identify the raga correctly.

The most important note of a raga, given the greatest emphasis and frequency, and often the note on which the raga's characteristic phrases settle. It is sometimes called the king (amsa) swara.

The second most important note of a raga, usually a fourth or fifth away from the vadi, which supports it in shaping the raga's identity. Its relationship with the vadi largely determines the raga's character.

A short, recognisable phrase or set of phrases that captures the essential melodic movement of a raga. Musicians use it to identify a raga quickly and to anchor improvisation within its characteristic contours.

A zigzag or out-of-order movement in a raga's phrase, where the melody turns back on notes instead of moving straight up or down. Vakra phrases are a defining feature of many ragas and must appear in the aroha or avaroha.

The rhythmic cycle of North Indian music, made of a fixed number of beats divided into groups called vibhag. Each cycle has a sam, khali, and tali, and is marked by hand claps and waves.

The standard set of bols (syllables) used by a tabla player to mark each beat of a tala cycle. The theka is the rhythmic skeleton that keeps soloist and accompanist together and is played with slight variation for ornamentation.

The first and most important beat of a tala cycle, where the phrase and the cycle coincide. Reaching sam together is the goal of improvisation, and it is marked by a clap in the tala's hand pattern.

The empty beat of a tala cycle, marked by a wave of the hand instead of a clap. It usually falls in the middle of the cycle and signals a lighter, unaccented section of the theka.

The tempo or speed of a rhythmic cycle, ranging from slow (vilambit) through medium (madhya) to fast (drut). Laya is the pulse framework within which all improvisation and composition take place.

The art of playing or singing rhythmic patterns at multiples or divisions of the basic tempo, such as two, three, or four notes per beat. It demonstrates control and creates tension before returning to sam.

The slow tempo used for the opening section of a khayal or dhrupad, allowing detailed ornamentation and gradual raga development. It is also called ati-vilambit when extremely slow.

The fast tempo used for the concluding section of a performance, where compositions are short and rhythmic play is prominent. It follows the slow and medium sections and often ends with a tihai.

A rhythmic phrase repeated three times so that its final note lands exactly on sam. Tihais are used to conclude compositions, improvisations, and drum solos with a decisive resolution.

Written notation of Indian music using swara abbreviations such as S, R, G, M, P, D, N, with marks for octave, komal or tivra notes, and rhythmic divisions. It records compositions and exercises for study and transmission.

The notation system devised by V. N. Bhatkhande, using Devanagari swara letters, dots above for the upper octave, underlining for the lower octave, and horizontal lines to divide rhythmic sections. It is the most widely used system in North Indian music education.

The notation system of V. D. Paluskar, which uses Devanagari letters with symbols such as dots and dashes to indicate octave and komal or tivra notes, and vertical lines to mark tala divisions. It is used in some schools alongside Bhatkhande's system.

Singing or playing notes using their syllable names (sa, re, ga, ma, pa, dha, ni) rather than words. Sargam exercises train pitch accuracy and are used in improvisation and notation reading.

A systematic exercise pattern of swaras, such as ascending and descending sequences in a fixed order, used to build technique and familiarity with ragas. Alankars are basic practice material for students of both vocal and instrumental music.

The dominant vocal form of North Indian classical music, built on a short composition (bandish) in a raga and tala, expanded with alap, bol-alap, and taans. It is performed in slow, medium, and fast tempos and allows wide improvisation.

The oldest surviving major vocal form of North Indian music, known for austere alap, a four-part composition (sthayi, antara, sanchari, abhog), and a serious, devotional character. It is usually accompanied by pakhawaj and sung in a fixed raga and tala.

A vocal form similar to dhrupad but set in the 14-beat dhamar tala and associated with the spring festival Holi. Its compositions often describe Krishna's play and are sung with lively, ornamented movement.

A fast, rhythmic vocal or instrumental form that uses meaningless syllables such as nom, tom, and tana instead of words. It emphasises rhythmic play and is often performed as a lively closing item.

An instrumental composition in North Indian music, usually set in a tala and played on sitar, sarod, violin, or flute. Gats may be in slow or fast tempo and are expanded with alap, jod, and jhala in the instrumental style.

A light classical vocal form with romantic or devotional lyrics, sung in a flexible raga treatment with emphasis on expression and ornament rather than strict elaboration. It is associated with the Lucknow and Banaras gharanas.

A devotional song, usually in a simple raga and tala, expressing personal devotion to a deity. It forms part of light classical and semi-classical repertoire and is often performed in call-and-response style.

A school of music defined by a lineage of teachers and a distinctive style of performance, such as Kirana, Gwalior, Agra, or Jaipur-Atrauli. Each gharana transmits its own repertoire, techniques, and aesthetic preferences.

The opening, unmetered section of a raga performance in which the notes are introduced gradually without rhythmic accompaniment. It establishes the raga's mood and is followed by jod and jhala in instrumental music.

The fast, rhythmic concluding section of an instrumental raga performance, played with rapid strokes and often in a lively tala. It follows alap and jod and brings the performance to an energetic close.

A fast, flowing melodic passage of swaras used in khayal and instrumental improvisation to display technique and rhythmic control. Taans may be simple, zigzag, or in layakari patterns and usually lead back to sam.

The aesthetic emotion or flavour evoked by a performance, such as shringara (love), karuna (compassion), or veera (heroism). Indian aesthetics holds that a well-rendered raga and poetry together produce rasa in the listener.

The emotional mood or expressive quality conveyed by a musical phrase, lyric, or performance. Bhava is the felt state that, when fully realised, gives rise to rasa in the listener.

A fixed vocal composition in a raga and tala, with text, sthayi, and antara sections, which serves as the basis for improvisation in khayal. The bandish is memorised and elaborated through bol-alap, taans, and other devices.

A long-necked drone instrument with four or more strings, tuned to the tonic and its related notes, which provides a continuous reference pitch for the soloist. Its tuning and maintenance are basic skills for instrumentalists.

The plectrum worn on the finger of a sitar or sarod player to pluck the strings. Its shape, material, and angle affect tone and speed, and correct use is part of instrumental technique.

A musical dialogue in which the soloist and the tabla player answer each other's rhythmic phrases, often in alternation. It is a feature of instrumental and vocal performances and shows rapport between performers.