Glossary of terms used on this site
All
| Term | Definition |
|---|---|
| Aalaap |
Improvisation of a raga in slow or medium tempo. |
| Aandolan |
Oscillations |
| Aaroh |
The Systematic arrangement of the notes in Ascending order is known as Aaroh. |
| Aavartan / Aavrutti |
The time span between sum to next sum. |
| Aavroh |
The Systematic arrangement of the notes in Descending order is known as Aavroh. |
| Achala Swar (immovable) |
The notes Shadja and Pancham are fixed on the scale. They are referred to as Achal swara (immovable). |
| Alankar |
Alankar literally means ornaments or adorations. Here it is used as a term for; any specific melodic presentation in succession with a pattern to be followed is called an Alankar. For example: "Sa Re Ga, Re Ga Ma, Ga Ma Pa, Ma Pa Dha, Pa Dha Ni, Dha Ni Sa". This phrase is a part of an alankar in which three notes in succession are used at each time. |
| Anuvaadi |
The other notes of the raga (other than Vaadi and Samvaadi). |
| Bandish |
It is a unique combination of swar, laya and words which carries all of the main characters of the raga. Bandish of Khayal is consisting of two parts Sthayee & Antara. The Sthayee is generally covers the area of lower & middle octave. It is first part of Bandish whereas Antara comes after the Sthayee & it covers middle of higher octave of the Raga. The Main function of Bandish is to constantly provide schematic plan of a raga & genre & help to explore directions in which it can be elaborated. |
| Bhakti geet |
Devotional song |
| Bol |
The words which are played on rhythem instruments. |
| Bol Taan |
Taan can also be sung by utilizing the words of the Bandish (Composition). This is a difficult type of a taan as in this - the correct pronunciation, the beauty of the words, meaning of the composition, every thing has to be taken in to consideration. |
| Cavity |
empty space in a body |
| Chalan, Mukhya Ang, Pakad |
It is a group of notes which shows main features of raga, from which raga can be easily identified. Significance:- It is much helpful for beginners to identify the raga & used special notes. It is also helpful to keep distinct a raga from its neighbouring raga by placing "Mukhya Ang" in its improvisation. For beginners it is helpful for changing immediately another raga after one. |
| Dhrupad |
It is oldest living form after vedic chant. It has a particular structure & singing style. |
| Drut |
Faster tempo |
| Gaan Samay |
It is considered that each raga is having a particular time to perform which is known as Gaan-Samay or time of singing. |
| Gamak |
Gamak is the Heavy shake between two notes. These are many ways of ornamenting the notes. In tradition fifteen types of gamaks are found. |
| Gharana |
Schools/styles of Indian Classical Music |
| Harkat |
Movements |
| Jati |
Depending upon number of notes in Ascending & Descending scale Ragas are classified into Jati. 1. Pentatonic Scale - 5 notes=Audav Jati 2. Hexatonic Scale - 6 notes =Shadav Jati 3. Septatonic Scale - 7 notes=Sampoorna Jati Like wise the combinations from these Audav-Shadav, Shadav Sampoorna, Audav Sampoorna, Sampoorna-Sampoorna etc. are also exists. |
| Khali |
It is supposed as weaker beat of tala, generally divides tala into two parts. |
| Khand / Vibhag |
These are the partitions in a tala & are used to express it more beautifully. |
| Kharaj |
Notes of lower octave. |
| Khayal |
(In Farasi language) Khayal means thought or imagination. This is most the popular form in Indian Classical Music today. In this form there is improvisation within the Raga using the Bandish, Aalap, Taan, Bol & Sargam. There are two types of Khayal - |
| Komal Swar |
In Vikrut swaras Rishabh, Gandhar, Dhaivat, Nishad can be moved below there shuddha place on the scale. They are called komal (Soft or Flat). These are shown by a small horizontal line below the note. |
| Lakshan Geet |
Is a kind of Bandish in which the song text is conveying all of the characters of the raga. |
| Madhya Laya |
Middle tempo/Medium tempo |
| Madhya Saptak |
Middle Octave. It is begins from the starting note Sa it basically is the pitch that we regularly speak in. It is most useful octave in singing. |
| Mandra Saptak |
Lower Octave. It is below the starting note Sa. It sounds serious. |
| Matra |
It is term used in Indian Classical Music for the beat. It is the basic unit of from which tala is formed. It is a time span required for a single clap. |
| Meend |
It as a glide between two notes. |
| Mehfil |
concert |
| Mukhadaa |
The first line of the composition is known as Mukhaadaa. |
| Paltas |
Ascend and descend for practice |
| Pandit |
Expert |
| Ras / Rag ras |
The emotion each raga invokes. It is supposed that depending upon the notes used in the raga, it will invoke a ras. |
| Riyaz |
Practice |
| Samvadi Swar |
It is the second prominent swar in the scale of a particular raga. But it is lesser important than that of Vaadi Swar.The distance between Vadi and Samvadi Swar is 4 to 5 notes atlist. Dha of Bhupali / Bhup |
| Saptak / Octave |
The notes between Sa to Sa forms a saptak |
| Sargam Geet |
It is a song based on raga which is made up from beautiful arrangements of notes which displays the characteristics of raga along with various special notes used in a raga is called as Sargam Geet. Use of Sargam Geet - It makes easy to understand Raga in better manner. - It helps to understand exact positions of note. - It helps to understand use of special notes & kanswar used in a raga easily. |
| Semi Classical |
Sub - branch of Indian Classical Music in which the forms depend on tune of a raga, the rules of these ragas are not as strict as in classical music. In these forms the words are equally important e.g. Thumri, Dadra, Tappa, Natya-Sangeet (Theatre-Songs) etc. |
| Shruti |
Semi tones |
| Shuddha Swar |
These are natural notes |
| Sum |
Generally it is first beat of tala; from which tala is starting. |
| Swar / Note |
A musically useful sound which has a definite frequency. |
| Taan |
Improvisation of the raga in the faster tempo |
| Taanpura |
drone instrument which continuously provide basic note Sa as well as other supportive notes. See article Appreciation of Indian Classical Music for more details about… |
| Taar Saptak |
Higher Octave. It starts from the Sa of the taar saptak and is double the pitch of the starting Sa. |
| Tala |
Originated from Sanskrit word "Tala". -The literally a clap. is the term used in Indian Classical Music for the rhythmic pattern. Tala is a certain group of beats having certain time span & structure. |
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