RBSE SS Vocal Music key terms

The ascending movement of a raga, showing the order in which its swaras are approached from lower to higher pitch. Some ragas skip or bend notes in ascent, so aroha is not always a simple scale.

The descending movement of a raga, listing swaras from higher to lower pitch. Descent often includes more notes than ascent, which helps distinguish ragas that share the same ascending form.

A short characteristic phrase that captures the identity of a raga. Singers use it to establish the raga quickly and to test whether an improvisation still belongs to it.

The principal or most emphasised swara of a raga, sometimes called the king note. It receives the greatest attention in alap and bandish, and phrases usually settle on it.

The second most important swara of a raga, treated as its consort note. It is usually a fourth or fifth away from the vadi and supports the raga's tonal centre.

The classification of a raga by how many swaras it uses in ascent and descent, such as audav (five), shadav (six) or sampurna (seven). Mixed labels like audav-sampurna describe differing counts.

A zigzag or out-of-order movement of swaras in a raga, as opposed to straight ascent or descent. Vakra phrases are a key identifying feature of many ragas.

The characteristic melodic gait of a raga, showing how its phrases actually move in performance. It is broader than pakad and covers typical turns, rests and note groupings.

A melodic framework in Hindustani music defined by its swaras, ascent, descent, emphasised notes and characteristic phrases. It provides the material for improvisation and composition without being a fixed tune.

The unmetred, unmetered exposition of a raga that opens a performance. It unfolds the raga note by note, without tabla, allowing the singer to establish mood, register and phrase shape.

A composed song in a raga set to a tala, with fixed lyrics, melody and rhythmic placement. It serves as the anchor from which a singer improvises in khayal and related forms.

The first section of a bandish, usually spanning the lower and middle register and often touching the vadi. It returns as a refrain and marks the point of resolution on sam.

The second section of a bandish, generally set in the upper register and introducing higher swaras. It contrasts with the sthayi and usually leads back into it.

A major Hindustani vocal form built on a bandish in a raga and tala, with scope for improvised elaboration. Bada khayal is slow and expansive; chhota khayal is faster and more compact.

The slow-tempo khayal, usually set in a long tala cycle, allowing broad alap-like improvisation, vistaar and extended bol patterns. It demands control of breath and gradual development of the raga.

The shorter, faster khayal, often in tintal or ektal at medium to fast tempo. Improvisation concentrates on bol-bant, tans and rhythmic play rather than slow raga unfolding.

An older, austere Hindustani vocal form with a four-part structure: sthayi, antara, sanchari and abhog. It favours slow alap, precise swara and the accompaniment of pakhawaj rather than tabla.

A vocal form in the dhrupad family set to the fourteen-beat dhamar tala, often with playful Krishna-themed lyrics. It is sung in a lighter, more rhythmic style than dhrupad.

A vocal form related to dhrupad but lighter in texture, usually set in a tala such as jhaptal or chautal. Its compositions are shorter and allow more melodic freedom than strict dhrupad.

A fast vocal composition using meaningless syllables such as nom, tom, dere, na instead of words. It showcases rhythmic skill and tans, and is often performed after a khayal.

The rhythmic cycle that organises a Hindustani composition, defined by a fixed number of matras, divisions and clap or wave positions. Each tala has a theka and a characteristic feel.

A single beat or unit of a tala cycle. The number of matras, such as sixteen in tintal, defines the length of the cycle and the placement of its divisions.

A division or bar within a tala cycle, marked by a clap (tali), a wave (khali) or neither. Vibhags give the cycle its internal shape, as in tintal's four groups of four.

The first and most important matra of a tala cycle, where phrases resolve and compositions begin. Singers must land on sam precisely after improvisation, and it is marked by a clap.

The conventional spoken syllable pattern of a tala, recited on tabla or by voice to show its structure. It marks tali, khali and sam positions and is the basis of tala recitation.

A clap marking a stressed vibhag of a tala. Each tali has a number, and the pattern of talis and khalis helps performers track their position in the cycle.

A wave of the hand marking an unstressed division of a tala, also called sun. It contrasts with tali and is essential for keeping the cycle correctly, especially in tintal and jhaptal.

The tempo or speed of a performance, measured against the tala cycle. Laya may be vilambit (slow), madhya (medium) or drut (fast), and can change deliberately within a piece.

The art of playing with laya by subdividing or multiplying beats, such as singing two, three or four notes per matra. It demonstrates rhythmic command while keeping the cycle intact.

A written notation of Indian music showing swaras, rhythm and lyric placement. Different systems use abbreviations, dashes and symbols to indicate octave, duration and tala position.

Singing with swara names such as sa, re, ga, ma instead of lyrics. It is used in exercises, in sargam passages of khayal and as a tool for teaching and sight-reading.

A rapid melodic run through the swaras of a raga, sung on a vowel or on bols. Tans may be straight, curved, rhythmic or patterned, and are a marker of technical command.

Rhythmic improvisation in which the words of the bandish are re-divided across matras to create new patterns. It is central to chhota khayal and demonstrates control of tala and text together.

A school of Hindustani music defined by a shared lineage, teaching style and stylistic hallmarks. Gharanas such as Gwalior, Kirana, Agra and Jaipur preserve distinctive approaches to raga and voice.

Systematic training of the singing voice for range, stamina, pitch accuracy and tone. It includes breath control, posture, warm-ups and safe practice habits rather than only repertoire learning.

Disciplined daily practice of swaras to internalise pitch, intonation and raga phrases. It typically begins with long-tone exercises and gradually moves to palte, sargam and raga elaboration.

The resting or settling of a phrase on a particular swara, often the vadi or samvadi. Careful nyasa gives phrases their shape and prevents the raga from sounding aimless.

The gradual melodic expansion of a raga in slow khayal, moving from lower to higher register with increasing phrase length. It resembles alap but stays loosely tied to the tala.