Aaroh (or Aarohan) : The combination of ascending musical notes starting from lower note to higher note.
Avroh (or Avrohan) : A group of musical notes in a raga which starts from higher to lower note.
Naad : A particular sound or vibration which possess a rhythmic pattern and pleasant to hear . This type of sound used in music and the sound which is not used in music is called noise.
Shruthi : It means the smallest pitch interval that a human ear can detect and singer or musical instrument can produce.
Different types of Swaras
Swar : The musical note, unique by its sound and pitch. For example, Sa, Re, Ga, Ma, Pa, Dha, Ni, SA are different Swar.
Shudh Swar ( Natural Notes ) : In an octave of twelve notes, seven different notes which has a fixed place called Shudh Swar.
Komal Swar ( Minor Note ) : A soft or flat note whose place is just before Shudh swar.
Teevra swar ( Sharp Note ) : The high pitch note which comes just after Shudh Swar.
Achal swar ( Immovable Notes ) : Sa and Pa are called Achal swar because none of the two have any Komal and Teevra swar. Both are pure swars.
Vadi Swar : The most significant Swar in a raga where singers pause for a certain amount of time while practicing.
Samvadi Swar : In a raga, the second most significant Swar and singer pause at this swara for lesser time than Vadi Swar.
Anuwadi Swar : The list of swaras other than vadi and samvadi swaras of a Raag .
Vivadi Swar : As per rule, this Swar prohibited to use in Raag but sometimes singers can use it to enhance the beauty of that Raag.
Vajry swar : The swar which are strictly prohibited to use in a particular raaga .
Octave/Saptak : Group of seven swaras in an order of increasing pitch to perm a scale forms an octave or saptak. There are three types of saptak/octave.The literal meaning of Saptak means seven in Sanskrit.
- Mandra Saptak ( Lower Octave ) – Octave 1
- Madhya Saptak ( Middle Octave ) – Octave 2
- Taar Saptak ( Higher Octave ) – Octave 3
Thaat : Thaat is a musical scale that is capable of producing ragas in Indian Classical music and the list of Thaat used in Hindustani classical music given below.
- Bilawal Thaat
- Kalyan Thaat
- Khamaz Thaat
- Bhairav Thaat
- Maarva Thaat
- Kaafi Thaat
- Bhairavi Thaat
- Purvi Thaat
- Todi Thaat
- Aashavri Thaat
Raag and its related terms
Raag : Raag is a melodic scheme, having traditionally accepted rules with the possibility of improvisations.In simple words, Raag is a combination of Swaras which follows certain rule and regulations while singing or playing.
Raag Jaati : The number of swaras used in aaroh-avroh in a raag decides raag jaati.
- Audav ( औडव ) : progression of five swaras
- Saadav ( षाडव ) : progression of six swaras
- Sampurna ( संपूर्ण ) : progression of seven swaras
Combinations of the above three progressions used in aaroh-avroh of any Raag respectively tell us the Jaati of that Raag. Following are the list of raaga jaati :
- Audav – Audav. ( औडव – औडव )
- Audav – Saadav. ( औडव – षाडव )
- Audav – Sampurna. ( औडव – संपूर्ण )
- Saadav – Audav. ( षाडव – औडव )
- Saadav – Saadav. ( षाडव – षाडव )
- Saadav – Sampurna ( षाडव – संपूर्ण )
- Sampurna – Audav ( संपूर्ण – औडव )
- Sampurna – Saadav. ( संपूर्ण – षाडव )
- Sampurna – Sampurna( संपूर्ण – संपूर्ण )
Pakad : The smallest group of swaras that defines the identity of a particular Raag.
Aalap : Melodic elaboration of a Raag which describes complete behavior of a particular Raag.
Tana : A very fast musical note rendered in rhythm usually with vowels.
Ashraya raaga : An important Raag of particular scale with particular, not a combination which accommodates other Raag having the same.
Alankaars
Alankaar : The composition of swaras which follows certain rules is called alankaar. You can check more Alankars here. Alankars are the most important segment in Indian Classical music. The more you practice it, more your voice will improve as Singer.
ex: Sa Sa , Re Re , Ga Ga , Ma Ma , Pa Pa , Dha Dha , Ni Ni , SA SA
SA SA , Ni Ni , Dha Dha , Pa Pa , Ma Ma , Ga Ga , Re Re , Sa Sa
Musical ornaments keywords
Kan Swara : This Swara has some association with its preceding and succeeding Swara and those associating swaras which is never fully pronounced, sung, or played are Kan-Swara.
Khatka : A way of creating musical flavour combining the main swara along with its preceding and succeeding swaras in a fast way .
ex : Suppose you want to produce khatka of ‘ Pa ‘ swara . So when you sing this combination ( Pa Ma Dha Pa and Pa Dha Pa Ma Pa ) in fast speed, it becomes Khatka .
Murki or harkat : It is a fast and delicate Alankar which comprises three swaras and sung in a fast way. It is less forceful than Khatka which commonly used in Thumri and light genres.
Meend : A glide from one swara to another swara and when two swaras ( ex: Re -> Pa ) meet together without touching the between swaras ( Ga , Ma) ,then it forms meend. It is an important part of any classical performance.
Gamak : The grace that pleases the mind of listeners produced by reiteration of notes giving the effect of forceful shake.
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