Maharashtra HSC Vocal Classical Music key terms

A melodic framework in Hindustani music defined by a set of swaras, a hierarchical order with vadi and samvadi, ascending and descending patterns, and characteristic phrases that evoke a specific mood.

A classification system of ten parent scales in Hindustani music, formulated by Pt. Vishnu Narayan Bhatkhande, grouping ragas by their swara content for systematic study.

The ascending (aroha) and descending (avaroha) order of swaras in a raga, which may differ and are essential for defining its identity and movement.

The most important note of a raga, the sonant or king swara, which is emphasized and often the final resting note in performance.

The second most important note of a raga, the consonant or queen swara, usually a fourth or fifth away from the vadi, supporting the raga's structure.

A characteristic phrase or set of notes that captures the essence of a raga, often used for identification and as a basis for improvisation.

A melodic ornament or embellishment in Indian music, also refers to a type of palta exercise in swara sadhana for voice training.

A rhythmic cycle in Hindustani music consisting of a fixed number of beats (matras), divided into vibhags, with specific clap (tali) and wave (khali) patterns.

A single beat or unit of time in a tala cycle; the basic rhythmic pulse that is counted and subdivided in performance.

A section or bar within a tala cycle, containing a specified number of matras, marked by tali (clap) or khali (wave).

The first beat of a tala cycle, the point of resolution and rhythmic consonance, often emphasized by both melodic and percussion artists.

A clap or hand gesture indicating a stressed beat within a tala cycle, marking the beginning of a vibhag.

A wave of the hand indicating an unstressed or empty beat within a tala cycle, often contrasting with tali and marking a vibhag.

Tempo or speed in Hindustani music, categorized as vilambit (slow), madhya (medium), and drut (fast), and also refers to rhythmic flow.

Slow tempo, typically used in khayal presentation for expansive improvisation and elaboration of a raga.

Fast tempo, often used in the concluding section of a performance, featuring rapid melodic patterns and rhythmic play.

The use of swara syllables (sa, re, ga, ma, pa, dha, ni) in singing or playing, often for notation or improvisation.

A written system to represent musical notes, rhythms, and ornaments, such as the Bhatkhande notation system using swara symbols and rhythmic markers.

A notation system developed by Pt. Vishnu Narayan Bhatkhande using Devanagari script for swaras, with symbols for octaves, ornaments, and rhythmic divisions.

A major vocal genre of Hindustani classical music, featuring a bandish (composition) and improvised elaborations like alap, taan, and bol-baant, often in vilambit and drut laya.

A fixed composition in Hindustani music, setting a raga and tala, with lyrics (bol) and a specific melodic structure, serving as a basis for improvisation.

A fast-paced vocal composition using rhythmic syllables (bols) like 'ta', 'na', 'dir', 'tom' instead of meaningful lyrics, often performed after khayal.

The opening, unmetered section of a raga performance, exploring the notes slowly and gradually, without percussion accompaniment.

A fast, melodic passage of notes, often in groups, used in khayal and other genres to display virtuosity and rhythmic command.

A semi-classical vocal genre known for its romantic and devotional lyrics, flexible raga usage, and expressive ornaments like bol-bana and laggi.

A light-classical vocal genre, often in dadra tala (6 beats), with romantic or devotional themes, simpler than thumri and allowing rhythmic play.

A devotional song, typically in a simple raga and tala, expressing love for a deity, often sung in groups and allowing flexible improvisation.

A poetic form of Urdu couplets set to music, often in light classical style, focusing on love, loss, and philosophy, with emphasis on lyrical expression.

The disciplined practice of musical notes, including voice training, pitch accuracy, and ornamentation, to develop mastery over swaras.

A sequence of swaras practiced in ascending and descending patterns, often used as a warm-up exercise to improve voice flexibility and pitch control.

A school or style of Hindustani music, characterized by a specific approach to raga, repertoire, and performance practice, passed down through generations.

Pt. Vishnu Narayan Bhatkhande (1860–1936), a musicologist who systematized Hindustani ragas into ten thats and developed a notation system.

A long-necked drone instrument providing a continuous harmonic background, typically with four strings tuned to the tonic and fifth.

A pair of hand drums used as the primary percussion instrument in Hindustani music, capable of producing complex rhythmic patterns and tonal variations.

A keyboard instrument with bellows, commonly used for accompaniment in vocal music, providing melodic support and drone.

An aesthetic sentiment or flavor evoked by a performance, such as shringar (love), karuna (compassion), or veer (heroism), central to Indian aesthetic theory.

The emotional mood or feeling expressed in music, often linked to the raga's character and the performer's expression.