PSEB Matric Music Instrumental key terms

The fundamental concept of musical sound in Indian music, understood as vibration produced in space and perceived by the ear. It is divided into anahata, the unstruck or self-generated sound, and ahata, the struck sound produced by instruments or voice.

The smallest perceivable interval of pitch in Indian music theory. Tradition names twenty-two shrutis within the octave, though they are theoretical reference points rather than fixed keyboard steps, and their exact placement has been debated by theorists.

A musical note or pitch degree used in Indian music. Seven shuddha or natural swaras form the basic set, and they are altered to produce komal (lowered) and tivra (raised) forms, giving twelve pitch positions in common use.

The set of seven swaras forming an octave, from Sa through Ni to the upper Sa. It appears in three registers: mandra (lower), madhya (middle) and tar (upper), with the middle register normally used for teaching and performance.

Tempo or the speed of rhythmic movement in music. It is commonly described as vilambit (slow), madhya (medium) and drut (fast), and laya is also expressed in multiples such as dugun (double) and chaugun (quadruple) of a basic pulse.

A notation system devised by Vishnu Narayan Bhatkhande, widely used in Hindustani music teaching. It writes swaras in Devanagari, marks the octave with dots above and below, uses lines for vibhag divisions and symbols for komal, tivra and rests.

A notation system associated with Vishnu Digambar Paluskar, using numerals and symbols to indicate swara positions, octave registers and rhythmic grouping. It differs from Bhatkhande notation in its symbols and layout, and both systems remain in use in music education.

The ascending order of swaras in a raga, showing the sequence of notes used when the melody rises. Aroha may be straight or vakra (zigzag), and it often differs from the descending order, which is a defining feature of many ragas.

The descending order of swaras in a raga, showing the sequence of notes used when the melody falls. Comparing aroha with avaroha reveals whether a raga is sampurna, shadav or audav in each direction, which is central to raga identification.

A short, characteristic phrase or set of phrases that captures the identity of a raga. A pakad uses the raga's key movements and is used to recognise the raga quickly, especially where aroha and avaroha alone are insufficient to distinguish similar ragas.

The principal or most important swara of a raga, sometimes called the king note. It receives the greatest emphasis and is often the note on which the raga's melodic identity and emotional character most depend.

The second most important swara of a raga, often called the queen note. It is usually separated from the vadi by a fourth or fifth and supports the vadi in shaping the raga's melodic movement.

The classification of a raga by the number of notes used in ascent and descent. Sampurna uses seven notes, shadav six and audav five; a raga may be audav-sampurna or shadav-shadav, for example, and mixed categories are common.

The prescribed time of day or night for performing a raga, based on traditional associations with particular hours. Ragas are grouped into periods such as morning, afternoon, evening and late night, and this convention guides concert programming.

A single beat or counted unit of a tala. The matra is the basic pulse against which the rhythmic cycle is measured, and it is counted aloud or marked by hand in practice.

A section or bar within a tala cycle, containing a fixed number of matras. Vibhags are separated by tali or khali positions, and their grouping gives the tala its characteristic shape, such as 4+4+4+4 in teentaal.

The first matra of a tala cycle, the point where the cycle begins again. Sam is the most important structural point, marked by a tali, and compositions and improvisations are designed to resolve or cadence there.

A clapped or sounded beat marking the start of a vibhag in a tala. Each tali is numbered, and the pattern of talis and khalis together defines the tala's structure and is shown in notation.

An empty or unaccented section of a tala, marked by a wave of the hand rather than a clap. Khali contrasts with tali and helps listeners feel the cycle's internal balance, as in the third vibhag of teentaal.

A sixteen-matra tala divided into four vibhags of four matras each, with talis on matras 1, 5 and 13 and khali on matra 9. It is among the most widely used talas for bandish, gat and tabla solo performance.

A twelve-matra tala arranged in six vibhags of two matras each, with talis on matras 1, 5, 9 and 11 and khalis on 3 and 7. It is common in vilambit khayal and in some dhrupad and instrumental settings.

A ten-matra tala divided into four vibhags of 2+3+2+3 matras, with talis on matras 1, 3 and 8 and khali on matra 6. Its uneven grouping gives a distinctive feel and it is used in khayal and instrumental compositions.

A melodic framework in Indian music built from selected swaras with characteristic ascending and descending movements, emphasised notes and phrases. A raga is not a fixed tune but a structured set of melodic rules for improvisation and composition.

A composition or passage in which swaras are sung or played using their names rather than meaningful lyrics. Sargam is used in teaching, in alankar practice and as a form of melodic improvisation within a raga.

A teaching composition whose lyrics describe a raga's defining features, such as its aroha, avaroha, vadi, samvadi and time of performance. It combines musical practice with theoretical instruction and is common in school and college syllabi.

A composed song in a raga and tala, usually with lyrics, a fixed melodic setting and a rhythmic structure aligned to the tala. Bandish in khayal has sthai and antara sections and serves as the base for improvisation.

A school or lineage of Hindustani music performance, transmitting a distinctive style, repertoire and teaching method from master to disciple. Well-known gharanas include Gwalior, Kirana, Agra, Jaipur-Atrauli and Patiala.

A musicologist and reformer who systematised Hindustani raga classification, wrote influential treatises and devised a widely used notation system. His work helped bring music theory into modern education and organised ragas into thaat families.

A singer and educator who founded institutions for music teaching and developed a notation system and pedagogical method. He is remembered for popularising formal music education and for his contributions to devotional and classical vocal music.

A scale of seven notes used by Bhatkhande to classify ragas into ten families, such as Bilawal, Khamaj, Kafi and Bhairav. A thaat is a theoretical scale, not a performing raga, and many ragas share one thaat while differing in movement.

A systematic exercise pattern, often called a palta, that moves through swaras in fixed sequences to build fluency, accuracy and speed. Alankars are practised in ascending and descending forms and across talas in training.

A long-necked drone instrument with four strings, usually tuned to Sa and Pa or Sa and Ma. It provides a continuous reference pitch for singers and instrumentalists, and its tuning must match the performer's chosen Sa.

A pair of hand drums used in Hindustani music, consisting of the smaller, higher-pitched dayan and the larger, lower-pitched bayan. The dayan is tuned to the performer's Sa or a related pitch, while the bayan provides bass and pitch bending.

The process of setting the drone strings to a reference pitch and its consonant notes, typically Sa and Pa or Sa and Ma. Strings are adjusted with fine beads or pegs, and accurate tuning supports stable intonation during long practice or performance.

A plucked string instrument with a long neck, movable frets and sympathetic strings, widely used in Hindustani music. Its frets can be adjusted for raga-specific tuning, and it is played with a wire plectrum on the right hand.

The most common vocal form in modern Hindustani music, featuring a bandish in a raga and tala followed by improvised elaboration. It is performed in vilambit and drut tempos and allows wide scope for alap, taan and bol patterns.

The opening, unmetred exposition of a raga, performed without tala and usually in slow tempo. Alap unfolds the raga's notes and phrases gradually, establishing its character before the rhythmic composition begins.

A laya relationship in which the performer plays or sings two units for every one matra of the basic tempo, effectively doubling the speed. Dugun and chaugun are standard laya exercises and are used to build rhythmic control.

A morning raga using komal Rishabh and komal Dhaivat with shuddha Gandhar, Madhyam and Nishad. Its characteristic phrases include komal Re and komal Dha with a slow, oscillating approach, giving it a grave and devotional character.

An evening raga in which tivra Madhyam is the distinguishing note, with all other swaras shuddha. Its ascent often omits Pa in the lower register, and its phrases around Ga, Ma tivra and Ni define its identity.