Glossary of Indian Music (Part – 03)

Collection by : Gurumayum Shivachandra Sharma
Cultural Activist
1. Matra: In Indian Classical Music, the Matra or beat is the smallest rhythmic sub-unit of a Taal as a musical meter. For example, there are 16 Matras or beats in the Tritaal or Teentaal.
2. Vibhag: In India Classical Music, the Vibhag is a division of Matras or beats having a duration of rhythmic phrasing made up of a certain number of Matras or beats. For example, there are four 4 Vibhags in the Tritaal having four 4 Matras or beats each within the four 4 divisions.
3. Tali: In India Classical Music, the first matra or beat in every Vibhag that we claps are called the Tali. For example, there are three 3 Talis in the Tritaal, i.e., the 1st matra, 5th matra and 13th matra respectively.
4. Khali: In India Classical Music, the first matra or beat in the Vibhag that we wave our hands or not claps are called the Khali. Sometimes, it is also known as the Faak. For example, there is only one 1 Khali in the Tritaal, i.e., the 9th matra is the Khali.
5. Soma: In India Classical Music, the first Matra or Tali in a Taal is called the Soma. For example, the first Matra or beat in the Tritaal is the Soma.
6. Avartan: In Indian Classical Music, the complete full cycle of any Taal having a Soma, Talis and Khalis within a proper Vibhags according to their Matras or beats is called the Avartan.
7. Shruti: The words Shruti is a Sanskrit word which means “what is heard” in general. So, in the Indian Classical Music, the smallest unit of a sound that our human ear can detect are known as the Shrutis. There are Twenty-two 22 Shrutis in Indian music, they are, a) Chandovati, b) Dayavati, c) Ranjani, d) Ratika, e) Raudri, f) Krodha, g) Vajrika, h) Prasarini, i) Priti, j) Marjani, k) Kshiti, l) Rakta, m) Sandipani, n) Alapini, o) Madanti, p) Rohini, q) Ramya, r) Ugra, s) Kshobhini, t) Tivra, u) Kumudvati, and v) Manda respectively.
8. Jati: In Indian Classical Music, the classification of Ragas according to the numbers of Sangeet Swaras used in the Aroha and Abroha is called the Jati. There are Three 3 main Jatis according to their numbers of Sangeet Swaras, namely, a) Audav (groups of 5 Swaras), b) Sadav (groups of 6 Swaras), and c) Sampurna (groups of 7 Swaras), respectively. And, there are also Nine 9 sub divided Jatis according to their Aroha and Abroha, they are: a) Audav-Audav (5-5), b) Audav-Sadav (5-6), c) AudavSampurna (5-7), d) Sadav-Audav (6-5), e) Sadav-Sadav (6-6), f) SadavSampurna (6-7), g) Sampurna-Audav (7-5), h) Sampurna-Sadav (7-6), and i) Sampurna-Sampurna (7-7) respectively.
9. Uttaranga: In Indian Classical Music, the Ragas developed from the dominant note (Panchama) upwards, including the upper octave (Taar Saptak) are called the Uttaranga. And also as a rule of thumb, Uttarang Ragas are performed after 12 mid night till 12 noon. For example, in the Raga Bhairav, the Vadi Swara is the Dheiwat, so this Raga is developed in the Uttaranga region of the lower octave.
10. Poorvanga: In Indian Classical Music, the Ragas which are developed in the lower octave up to the dominant note of the middle octave are called the Poorvanga. As a rule of thumb, Poorvang Ragas are performed after 12 noon till 12 mid night. For example, in the Raga Yaman, the Vadi Swara is the Gandhar, so this Raga is developed in the Poorvang region of the middle octave, and the region of the lower octave.