WBBSE Madhyamik Vocal Music (Optional Elective) flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Swara

A musical note in Indian music; seven shuddha (natural) swaras are Sa, Re, Ga, Ma, Pa, Dha, Ni; five vikrit (altered) swaras are komal Re, Ga, Dha, Ni and tivra Ma.

Srutti

Microtonal intervals in Indian music theory; traditionally 22 srutis per octave, used to define the placement of swaras, though exact tuning is theoretical.

Raga

A melodic framework with at least five notes, a vadi and samvadi, and prescribed ascent and descent; it evokes a specific mood and is performed within a tala cycle.

Tala

A cyclical rhythmic framework defined by matra (beat), vibhag (section), tali (clap), khali (wave), and sam (first beat); examples include Teental and Jhaptal.

Paluskar notation

A notation system using Devanagari script; komal swaras marked with a line below, tivra Ma with a line above; octave dots indicate mandra or tar registers.

Bhatkhande notation

A notation system using Hindi script; komal swaras marked with a line below, tivra Ma with a line above; tala cycle marked with x, 2, 3, 0 for sam, tali, khali.

Vadi

The most prominent or sonant note of a raga; it is emphasized in improvisation and often determines the raga's character.

Samvadi

The second most prominent note of a raga, usually a fourth or fifth from the vadi; it supports the vadi in establishing the raga's identity.

Pakad

A characteristic melodic phrase that identifies a raga; it encapsulates the raga's essential movement and is used in performance and teaching.

Aroha

The ascending order of notes in a raga; it may differ from the descending order (avaroha) in the use of certain swaras.

Avaroha

The descending order of notes in a raga; it often includes notes omitted in ascent and helps define the raga's unique character.

Raga Yaman

An evening raga using tivra Ma and all shuddha notes; vadi Ga, samvadi Ni; aroha Ni Re Ga Ma(tivra) Dha Ni Sa; pakad Ni Re Ga Re Sa.

Raga Bhairav

A morning raga using komal Re and Dha; vadi Dha, samvadi Re; oscillates on komal Re and Dha; aroha Sa Re(k) Ga Ma Pa Dha(k) Ni Sa.

Raga Bhairavi

A concluding raga using komal Re, Ga, Dha, Ni; vadi Ma, samvadi Sa; all notes except Pa may be used in ascent; often performed at dawn.

Raga Bageshri

A late-night raga using komal Ga and Ni; vadi Ma, samvadi Sa; Re and Pa are weak in ascent; aroha Sa Ga(k) Ma Dha Ni(k) Sa.

Raga Kafi

A folk-like raga using komal Ga and Ni; vadi Pa, samvadi Re; aroha Sa Re Ga(k) Ma Pa Dha Ni(k) Sa; common in thumri and bhajans.

Raga Khamaj

A light classical raga using komal Ni in ascent and both Ni in descent; vadi Ga, samvadi Ni; used in thumri and hori.

Raga Asavari

A morning raga using komal Ga, Dha, Ni; vadi Dha, samvadi Ga; Pa often omitted in ascent; aroha Sa Re Ma Pa Dha(k) Ni(k) Sa.

Raga Desh

A monsoon raga using shuddha notes with komal Ni in descent; vadi Re, samvadi Pa; aroha Sa Re Ma Pa Ni Sa; associated with patriotic songs.

Teental

A 16-matra tala with four vibhags of 4; tali on 1, 5, 13; khali on 9; sam on 1; widely used in khayal and instrumental music.

Jhaptal

A 10-matra tala with vibhags 2+3+2+3; tali on 1, 3, 8; khali on 6; sam on 1; common in khayal and instrumental.

Ektaal

A 12-matra tala with six vibhags of 2; tali on 1, 5, 9, 11; khali on 3, 7; sam on 1; used in dhrupad and khayal.

Rupak

A 7-matra tala with vibhags 3+2+2; khali on 1 (sam is khali), tali on 4 and 6; unusual because sam is khali.

Dadra

A 6-matra tala with vibhags 3+3; tali on 1, khali on 4; sam on 1; common in light classical, thumri, and bhajans.

Kaharwa

An 8-matra tala with vibhags 4+4; tali on 1, khali on 5; sam on 1; used in folk and film music.

Laya

The tempo or speed of a tala cycle; classified as vilambit (slow), madhya (medium), and drut (fast); controlled by matra duration and bol density.

Dugun

A layakari (rhythmic variation) where two bols are played per matra, doubling the basic tempo while keeping the tala cycle length unchanged.

Tihai

A rhythmic phrase repeated three times, designed to end on sam; common in instrumental and vocal compositions to mark a resolution.

Khayal

A major Hindustani vocal form with sthayi and antara sections; set in vilambit or madhya laya; allows improvisation through alap and taan.

Dhrupad

The oldest surviving Hindustani classical form; four parts: sthayi, antara, sanchari, abhog; usually in chautal or dhamar; solemn tempo.

Thumri

A light classical vocal form in dadra or kaharwa; expressive and romantic or devotional; often in ragas Kafi, Khamaj, or Bhairavi.

Vishnu Narayan Bhatkhande

Musicologist (1860–1936) who systematised Hindustani ragas into ten thatas; wrote 'Hindustani Sangeet Paddhati' and 'Kramik Pustak Malika'.