| Glossary
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| Aadi |
a common tala, which is catusra jaati tripuTa taLa. It has 8 beats, with a
catusra laghu (beat and 3 finger counts = 4) and then two drutams (beat and wave times 2 =
4). It may be also performed with double the beats per cycle, giving 16 beats. |
| aaditya |
the 12th and last Chakra, with melakartas that have M2, R3, and G3,
comprising numbers 67-72 |
| aahatam |
a gamaka or decoration of a note which takes the form of 2 consecutive
notes, such as SR RG GM MP |
| aananta |
meaning "peace" or "ultimate happiness," this is the
word used in singing of taanam |
| aandolam |
a gamaka or decoration of a note which takes the form of going up and down
in sequence, as in SRSG, SRSM, SRSP ... |
| Acchop raga |
Lesser known raga. |
| Adhara shadja |
The key-note, tonic-note, sruthi, the C-reference note set by performer at
the begining of the concert |
| Agni |
3rd Chakra - Melas 13 - 18 |
| Aftab-e-Mousiqui |
An honourable title conferred on an eminent musician . |
| Alaap/Alapchari |
Gradual unfolding and development of a raga through monosyllables and
without a fixed composition. |
| alaapana(i) |
one of the manOdharma sangeetam forms, same as raaga (2) |
| Alankar |
Notes and other features which prominently indicate a raga. |
| Ang |
Limb or part ; Raga-ang indicates towards the root to which a given raga
might belong. |
| Anupallavi |
The second section of a composition in a Krithi, Keerthana, Varnam, etc.
It comes after the Pallavi |
| Anuvadi |
An assonant note - or partly consonant but enhances melodic beauty of the
Raga |
| Anya swara |
The foreign or accidental or visiting note in bhashanga Ragas. Usually
used to provide a flashing touch to melodic beauty of the Raga |
| Aroha(na) |
The ascending scale of the Raga |
| Avaroha(na) |
The descending scale of the Raga |
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| Baithak |
Informal music session within the close proximity of the performer |
| Bandish |
A composition that is bound within the frame of a raga. The text, normally
in Brijbhasha, provides space for musical elaboration through a felicitous selection of
vowels. |
| Barhat |
Development of a Raga. |
| Bhajan |
Devotional compositions. |
| Bhakti |
Devotion. |
| Bol |
Text of the lyrics |
| Bol Bant |
Rhythmic variations in Dhrupad or Khayal with the text of the song. |
| Brajbhasha |
A dialect of Hindi spoken around Mathura in U.P. |
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| Chaiti |
Folk songs of Uttar Pradesh, sung in the month of Chaitra (March - April).
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| Chaturang |
Composition with four distinct features - Khayal, bols of tabla, sargam
and tarana |
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| Dadra |
Form of semi-classical compositions / idiom. |
| Desi |
A regional version of music, more flexible than the classical style. |
| Dhak |
A drum instrument mainly prevalent in Bengal, essentially used during
festive season. |
| Dhamar |
Ancient form of music set to Dhamar tala of the beats, the text describing
colour play between Krishna and Radha and the inhabitants of Vrindaban. |
| Dhol |
A drum popularly used for light forms of music. |
| Dhrupad |
Ancient,structured form of classical music reigning supreme for centuries
in North India before the advent of Khayal. |
| Drut |
Fast tempo. |
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| eDuppu |
the place in a taaLa from which a song or a line or phrase from a song is
begun. Songs may take sama eDuppu, starting at the beginning of the cycle, or (vishama
graham) start a few swara counts (usually 2, 4, or 6) before (atita) or after (anaagata)
the start of the taaLa cycle. A comma , represents 1/4 eDuppu. A semicolon ; represents
1/2 eDuppu. The combination of these ;, represents 3/4 eDuppu in notation |
| Eka |
one of the sapta taaLas with the form of a single laghu (symbol |) so that
there will be seven forms by varying the laghu. For example, catusra Eka taaLa will have
four beats, a single beat with the palm and then movement of the outer three fingers in
one cycle. When the laghu is not specified, Eka taaLa is tishra Eka |
| Eka kalai |
the 1st kalai where there is 1 swara for each kriyaa or movement |
| ettukaaDi pallavi |
another name for the caraNam of a varnam |
| ettukaaDi swaras |
another name for the cittai swaras of a varnam |
| Ezhisai |
a term for god as the incarnation of sounds, as is often considered |
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| Gamaka |
A melodic embellishment giving special vibratory effects. |
| Gayakee |
Style of singing. |
| Gharana |
A concept peculiar to Hindustani Classical music. 'Gharana' is comparable
to a style or school of dance or music (vocal/ instrumental). The names of Gharanas are
almost always derived from the city, district or state that the founder lived in. Various
Gharanas adopted their own particular approach to presentation, technique and repertoire. |
| Gharana Gayakee |
Authentic style of singing following a specific gharana. |
| Gul |
Flower (Literally) - a feature of qawwali |
| Guru |
Preceptor who shows the life - path, guide. |
| Gurukul |
Abode or a traditional retreat where a guru teaches his students |
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| hampitam |
a rarely-used gamaka which uses the sound hoom (oo as in good) repeatedly |
| hasya |
a rasa, or feeling, of laughter in a song or raaga, seen in raagas such as
mOhanam, kEdaaram, and hamsadwani |
| hecu staayi varisai |
phrases for practice singing up to the taara staayi pa |
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| ili |
an ancient Tamil term from Silappadigaaram for pancamam (abbreviated yi) |
| indu |
the 1st Chakra, with melakartas that contain M1, R1, and G1, comprising
melakarta numbers 1-6 |
| iraical |
the opposite of isai, it is a Tamil term for sounds that are not beautiful
and are disorderly |
| irangu niral |
a Tamil term for avarOha |
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| iraTTai kOvai varisai |
another term for janTa varisai |
| iraTTai kural - |
another term for taara sa |
| iravu paNN |
in the PaNN system, an evening raaga |
| isai |
a Tamil term for music, a system with beautiful sounds in an orderly
fashion which is pleasant to hear |
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| Jhalak |
Glimpses. |
| Jhoola |
Folk songs of Uttar Pradesh describing swings. |
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| Kajri |
Folk music of Uttar Pradesh sung during rains. |
| Khayal |
Imagination ; elaboration of a raga with lyrical composition consisting of
two stanzas. |
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| Layakari |
Use of different rhythmic patterns |
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| Meend |
Glissando, glide from one note to another, faintly going over the
intermediate notes. |
| Mishra |
Raga Mixture of two or more ragas. |
| Mridangam |
Two-faced cylindrical percussion instrument used by Carnatic (South
Indian) musicians. |
| Mukhda |
First line of a song or composition. |
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| Naqsh |
Impressive (Literally) - a feature of qawwali |
| NomTom |
Syllables employed in development of a Raga in alaap/alapchari. |
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| Pakhawaj |
A cylindrical percussion drum instrument, right side having a treble face
and the left side the bass. This instrument is for solo playing and also accompanies the
Dhrupad singers. |
| Pandit |
Honorary title given to an expert. |
| Parampara |
Tradition. |
| Prabandha |
Perfectly composed piece of music. |
| Pukar |
A musical intonation using higher notes. |
| Purab ang |
Characteristics of style of music prevalent in the eastern Uttar Pradesh
e.g. Benaras |
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| Raga |
Aesthetically pleasing (Literal). The basis of Indian Classical Music,
raga is a musical structure of five or more notes with an identity and mood. |
| Raga Lakshana |
Notes and other features which prominently indicate a raga. |
| Raga Vistar |
Elaboration of a raga. |
| Riyaz |
Practice. |
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| Sadhana |
Practice with devotion. |
| Sadra |
Khayal composition set to slow Jhaptala. |
| Samay |
Time - period. |
| Sangeet |
Sam (together) + Geet (Song); earlier included vocal, instrumental and
dance but now used only to refer to music. |
| Sammelan |
Conference |
| Sarangi |
A bowed string instrument without frets. |
| Sargam |
Sol -fas. |
| Sarod |
A popular stringed instrument without frets. |
| Shastriya Sangeet |
Classical music |
| Shehnai |
A wind instrument resembling clarinet. |
| Shishya |
Disciple. |
| Shruti |
Micro Notes |
| Sitar |
A popular stringed instrument with frets. |
| Soz |
Emotional appeal; a kind of composition (Qawali) sung in praise of Hasan
Hussain |
| Sufi |
Muslim saints and a community. |
| Surshree |
An honourable title given to an eminent lady musician. |
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| Taan |
Musical notes rendered with speed weaving different patterns. |
| Taan Pradhan |
Prominence of taans. |
| Taan Samrat |
A title awarded to musicians who excel in the rendering of taans. |
| Tabla |
A pair of drums, the treble is played by the right hand while the left
hand plays the bass. |
| Tala |
Rhythm - cycle containing a particular number of beats. |
| Talim |
Training, process of learning / teaching. |
| Tanpura |
A drone instrument , usually of four strings and is commonly used by vocal
musicians. |
| Tap Khayal |
A blend of Khayal and Tappa. |
| Tappa |
A semi-art music developed in Punjab, created by Shori Mian - and later
evolved into an intricate semi classical style with bol and taan thickly knitted at every
possible step. |
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| Tarana |
Idiom / composition using musical syllables based on Persian and Arabic
phonemes. |
| Thaat |
10 different sets of musical scales with seven primary notes in order of
ascent and in sequence only to help categorise the maximum number of Hindustani ragas
under it. |
| Thumri |
Popular semi classical idiom. |
| Trivat |
Idiom / composition with three prominent features - sargam, bols of tabla
and tarana. |
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| Ustad |
Guru, Expert, honorary title given to a learned musician. |
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| Vadi |
The principal or preeminent note of a Raga |
| Vakra |
Irregular increase or decrease in pitch of the scale of the Raga |
| Varik Style |
Music played by embellishing all note. Instead of single notes musical
curves ae heard |
| Varja Raga |
scale that do not contain all of the notes of the corresponding Mela Raga |
| Varna |
A mode of singing consisting of four parts
- Sthayi: Standing on a note
- Arohi: Ascending in pitch
- Avrohi: Descending in pitch
- Sanchari: A passage which involves ascending and descending
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| Varna(m) |
A type of musical composition Tana Varnas: Traditional Varnas usually set
to Madhyamakala. An opening piece in concerts. Played in two speeds. The brisk speed sets
the tone for the concert Pada Varnas: Played in fast tempo. Usually found in dance forms |
| Vasu |
8 th Chakra; Melas 43 - 48 |
| Veda |
4 th Chakra: Melas 19 - 24 |
| Vilambit |
Slow tempo. |
| Visesha Sanchara |
A musical phrase/passage that is not in accordance with the Arohana and
Avarohana but enriches the beauty of the Raga |
| Vistaar |
Elaboration of a group of notes in a particular raga. |
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| Yadiashta |
The fourth (and last) line of letters in the katapayaadi formula, with 8
letters, ya ra la va sha shha sa ha |
| Yati |
A rhythmic pattern of swaras, words, or beats in a taaLa. The types are:
sama, gOpucca, srotovaaha, Damaru, mridanga, and vishama |
| Yeru niral |
A Tamil term for aarOha |
| yi |
abbreviation for ili |
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