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Musical notation is any system used to visually represent music. Systems of notation generally represent the elements of a piece of music that are considered important for its performance in the context of a given musical tradition. The process of interpreting musical notation is often referred to as reading music.
Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and portions of east and south Telangana and southern Odisha. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre is Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.
Khyal or Khayal is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity.
Indian Classical Music is the classical music of the Indian subcontinent. It is generally described using terms like Shastriya Sangeet and Marg Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from the eastern part of India is Odissi music, which has evolved over the last two thousand years.
In poetic and musical meter, and by analogy in publishing, an anacrusis is a brief introduction. In music, it is also known as a pickup beat, or fractional pick-up, i.e. a note or sequence of notes, a motif, which precedes the first downbeat in a bar in a musical phrase.
Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes, etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval.
Ektal or Ektaal is a tala in Indian music. It is commonly used in classical music like kheyal, and semi-classical forms like Rabindra Sangeet. In ektal the 12 matras are divided into 6 vibhags of two matras each. Ektal is played in Drut gatti. This tala is mostly played by the use of tabla. One more tala similar to Ektal is Chowtal which is played with the use of Pakhavaj,Ektaal is the tabla counterpart of Chowtaal. Many beautiful Kaida are played in Ektal. But Ektal is mostly played for Vilambit.
In Indian classical music, a Matra is a beat, the smallest rhythmic sub-unit of a tala - the musical meter. It is one of the three levels of structure for tala along with Vibhag (measure) and Avartan (cycle). The significance of beats depends on their occurrence in a cycle. However, the value of the beats may be stretched or contracted depending on various factors.
Teentaal is the most common taal of Hindustani music, and is used for drut. It is symmetrical and presents a very simple rhythmic structure against which a performance can be laid. It is of 16 beats with 4/4/4/4/ pattern and 4 divisions.There are 3 claps 1 5 13 মাত্রা (tali) and 1 gap
8 মাত্রা (khali).
A tala literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with raga which forms the fabric of a melodic structure, the tala forms the life cycle and thereby constitutes one of the two foundational elements of Indian music.
Dadra is associated with the Hindustani classical music of the Indian subcontinent.
The pakhavaj is a barrel-shaped, two-headed drum, originating from the Indian subcontinent, the oldest version of double sided drums and its descendants are mridangam of Southern India and kendang of Maritime Southeast Asia and other South Asian double-headed drums. Its older forms were made with clay.
Tihai is a polyrhythmic technique found in Indian classical music, and often used to conclude a piece. Tihais can be either sung or played on an instrument. Tihais are sometimes used to distort the listeners’ perception of time, only to reveal the consistent underlying cycle at the sam.
Rupak Tala or also known as Roopak Taal is a popular tala in Hindustani music that is common in Bhajans and Geets. It has seven matras (beats) in three vibhags (divisions). Unlike the popular Tintal, the vibhags of Rupak Tala are not of equal length. Also, both the khali and sam of Rupak Tala fall on the first matra.
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here.
Yakshagana Tala, is a rhythmical pattern in Yakshagana that is determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance. Tala is maintained by the singer using a pair of finger bells.
A tabla is a pair of hand drums from the Indian subcontinent. Since the 18th century, it has been the principal percussion instrument in Hindustani classical music, where it may be played solo, as an accompaniment with other instruments and vocals, or as a part of larger ensembles. It is frequently played in popular and folk music performances in India, Bangladesh, Afghanistan, Pakistan, Nepal and Sri Lanka. The tabla is an essential instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during bhajan and kirtan singing. It is one of the main qawwali instruments used by Sufi musicians. The instrument is also featured in dance performances such as Kathak. Tabla is a rhythmic instrument.
Jhaptal is a tala of Hindustani music. It presents quite a different rhythmical structure from Teental, unlike which it is not symmetrical. It is used in madhyalay (medium-tempo) Khyal.
Borgeets are a collection of lyrical songs that are set to specific ragas but not necessarily to any tala. These songs, composed by Srimanta Sankardeva and Madhavdeva in the 15th-16th centuries, are used to begin prayer services in monasteries, e.g. Satra and Namghar associated with the Ekasarana Dharma; and they also belong to the repertoire of Music of Meghalaya outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations, and differ from other lyrics associated with the Ekasarana Dharma. Similar songs composed by others are not generally considered borgeets.
A Theka literally means "support, prop". The term also refers to a musical composition in classical Indian music for percussion instruments that establish a rhythm (Chanda), beats (Matras) and the metric cycle of beats (Tala) in a performance. An example is the theka of Dadra Tal: "Dha Dhi Na / Na Ti Na".
