Maharashtra SSC Indian Music Vocal & Instrumental Divyang key terms

A single musical note considered as a meaningful pitch in Indian music. There are seven shuddha swar in a saptak, and each is named by its position relative to Sa, the tonic the performer chooses.

The set of seven notes forming one octave, from Sa up to the next Sa. Indian music recognises three registers: mandra (lower), madhya (middle) and taar (upper) saptak.

A natural, unaltered note of the seven-note scale. In the Bilawal scale these are Sa, Re, Ga, Ma, Pa, Dha, Ni, matching the natural positions before any note is raised or lowered.

A note lowered by one semitone from its shuddha position. Only Re, Ga, Dha and Ni have komal forms; Sa and Pa are fixed and Ma is never komal.

A note raised by one semitone above its shuddha position. In the seven-note scale only Ma has a teevra form, written as tivra Ma and placed a semitone above shuddha Ma.

The lower octave, lying below the middle register. A performer moves into mandra saptak for calm, expansive phrases, and a divyang candidate may need a lower starting pitch to reach it comfortably.

The upper octave, above the middle register. It is used for climax and fast taan patterns, and singers with limited breath or range may approach it through shorter phrases.

The ascending movement of a raga, note by note from lower to higher pitch. The aaroh shows which notes are taken while rising and whether the climb is straight or skips a degree.

The descending movement of a raga, from higher to lower pitch. A raga's avroh may differ from its aaroh in the notes used, which helps distinguish ragas that share the same ascending scale.

The principal or king note of a raga, the pitch on which the melody most often rests and which reveals the raga's character. It is also called the amsha or sonant.

The second most important note of a raga, the minister to the vadi. It usually lies a fourth or fifth away from the vadi and supports the raga's identity.

A melodic framework with a fixed set of notes, characteristic ascending and descending lines, and strong notes such as vadi. It is the basis for improvisation and composition in Indian classical music.

A parent scale of seven notes used to classify ragas, as codified by V. N. Bhatkhande in ten types. Each thaat fixes which notes are shuddha, komal or teevra, and many ragas derive from it.

The parent scale in which all seven notes are shuddha, equivalent to the natural major scale. Ragas such as Bilawal and Alhaiya Bilawal are grouped under it.

A parent scale with shuddha notes except komal Ni. Ragas such as Khamaj and Des are classified under it, and its komal Ni gives a characteristic soft descent.

A parent scale with komal Ga and komal Ni, all other notes shuddha. Ragas such as Kafi, Bhimpalasi and Pilu are associated with it.

A rhythmic cycle of a fixed number of beats, marked by hand claps and waves, within which a composition and improvisation are set. Common examples are Teentaal and Jhaptaal.

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

The first and most important beat of a tala cycle, shown by a clap. Compositions and improvisations resolve on sam, so performers must track it precisely.

A beat in the tala cycle marked by a wave of the hand instead of a clap, usually indicating a lighter or empty section of the cycle. It contrasts with the clapped beats called tali.

A bar or section of a tala cycle, containing a group of matras. Teentaal has four vibhags of four matras each, marked by claps and a wave.

The tempo or speed of a performance, measured in beats per minute. It is described as vilambit (slow), madhya (medium) or drut (fast), and layakari is the art of playing with these speeds.

Slow tempo, used for the opening khayal or for alap, allowing space for ornament and gradual development. Beginners often find it easier for breath control and clear articulation.

Fast tempo, used in the concluding section of a performance and in fast compositions such as tarana. It demands quick, precise movement and is often adapted for candidates with motor limitations.

Indian notation in which notes are written as abbreviated swar symbols such as S, R, G, M, P, D, N, with marks for komal and teevra forms. It also records tala divisions and the words of a composition.

The notation system devised by V. N. Bhatkhande, widely used in Hindustani music. Notes are written in Devanagari or Roman letters, with a horizontal line for the middle octave and dots for lower and upper registers.

The Western five-line system in which pitch is fixed by position on lines and spaces and by clef. Indian music teaching sometimes uses it to show fixed pitch, but it does not naturally express raga phrasing.

Singing or playing notes using their names, Sa Re Ga Ma Pa Dha Ni, rather than words. In a composition, sargam passages function as a bridge between the words and pure note patterns.

A melodic exercise or ornament pattern using sequences of notes, often practised in ascending and descending forms. Alankars build finger and voice control and are a staple of early training.

A practice exercise in which a short note pattern is repeated at successive pitch levels. Paltas train accuracy and are often adapted into short, slow patterns for candidates with limited mobility.

The main Hindustani vocal form, with a slow or medium composition followed by improvised elaboration. It allows flexibility in text and tempo, so it can be adapted to individual vocal ranges.

A fixed composition in a raga and tala, with words, a melodic line and a rhythmic structure. It gives the performer a stable frame for improvisation and is often shortened for adapted examinations.

A school of Hindustani music tracing its style to a particular lineage, city or family, such as Gwalior, Kirana or Agra. Each gharana has characteristic phrasing, ornament and repertoire.

A scholar who systematised Hindustani music in the early twentieth century, classifying ragas into ten thaats and developing a widely used notation. His writings and teaching methods shaped modern music education.

A vocalist and educator who promoted Hindustani music through public teaching and founded institutions for music education. He is associated with the Gwalior tradition and with making music training more accessible.

A long-necked drone instrument with four strings, plucked continuously to give a steady reference pitch. Its sound supports tuning and intonation, and a recorded or electronic drone can substitute for it in adapted settings.

A pair of hand drums, the smaller dayan and larger bayan, used to accompany Hindustani music. The player produces bols such as dha, dhin and tin that correspond to tala patterns.

The class of stringed instruments in the traditional fourfold classification of Indian instruments, alongside percussion, wind and solid or metal instruments. Examples include sitar, sarod and tanpura.

The class of percussion instruments with a stretched skin or membrane, such as tabla, pakhawaj and dholak. The name refers to the covered drum head that produces the sound.

A planned change to examination or teaching conditions so a candidate with a disability can demonstrate musical skill, such as adjusted pitch, extra time, a scribe, or a modified instrument.

Notation prepared in large print, braille or high-contrast layout, with clear spacing of tala divisions, so that a candidate with low vision can read and prepare compositions independently.

A performance assessment adjusted for a candidate's disability, for example a shorter alap, a lower starting Sa, or a choice of instrument that suits the candidate's physical ability.