Glossary of Indian Music (Part-05)

Collection by: Gurumayum Shivachandra Sharma
Cultural Activist
1. Sudha Raag: In Indian Classical Music, those Raags having their own specific flavours which other Raags could not dominate them are commonly known as the Sudha Raags. For example, Raag Bilawal, Raag Yaman (Eman or Kalyan), Raag Khamaj, Raag Bheirava, Raag Kafi, Raag Asawari, Raag Bheiravi, Raag Todi, etc,. are the Sudha Raags.
2. Chhayalag Raag: In Indian Classical Music, when the Sangeet Swaras of other Raag slightly touch in a specific Raag and create a different flavour of that Raag, that Raag is called the Chhayalag Raag. This Raag is also known as the Salanka Raag. For example, Raag Padaj, Raag Tillakamod, Raag Gouda Saranga, etc,. are the Chhayalag Raags or Salanka Raags.
3. Sankirna Raag: In Indian Classical Music, a Raag which is formed by combination of two or more Raags is known as the Sankirna Raag. It is also known as the Mishra Raag. For example, Raag Mishra Khamaj, Raag Sudha Kalyan, Raag Shyam Kalyan, Raag Pooriya Danasi, Raag Ahir Bheirava, etc,. are the Sankirna Raags or Mishra Raags.
4. Nibadha Gan: In Indian Classical Music, the melodic compositions along with a rhythmic pattern of a Taal is called the Nibadha Gan. There are numerous Nibadha Gans in Indian Music from the ancient time. For example, Dhrupada, Dhamar, Bada Khayal, Chhota Khayal, Thumari, Tarana, Dadra, Jhappa, Kirtana, Lok Geet, Ghazal, Bhajan, Sugam Sangeet, etc,. are the Nibadha Gans.
5. Anibadha Gan: In Indian Classical Music, a form of melodic improvisation that introduces and develops a Raag and defines its moods by imaginating with Sangeet Swaras, is called the Anibadha Gan. It is also commonly known as the Alap. There are four kinds of the Anivadha Gan, they are, a) Ragalap Gan, b) Rupkalap Gan, c) Alapti Gan and d) Swasthanalapka Gan respectively, (same with the point no. 2 of former Part-02 of Glossary of Indian Music, published on date 17th October, 2021, Sunday).
6. Bandish: In Indian Classical Music, a fixed melodic composition in a vocal or an instrumental music is generally known as the Bandish. According to it’s lyrical order or compositions, there are Two 2 parts in Indian Music, they are a) Sthayee and b) Antara, but in the tradition of traditional Dhrupad music, in addition with Sthayee and Antara, there are altogether Four 4 parts, namely a) Sthayee, b) Antara, c) Sanchari and d) Abhog respectively.
7. Sthayee: In Indian Classical Music, the first part or paragraph of a lyric and also an initial phrase or line of a melodic composition is commonly known as the Sthayee. It is use in both the Dhrupad tradition and all other traditions.
8. Antara: In Indian Classical Music, the second part or paragraph of a lyrics and also the first main verse of a song is commonly known as the Antara. It is also use in both Dhrupad tradition and all other traditions.
9. Sanchari: In Indian Classical Music, the third part or paragraph of a lyrics in Dhrupad style of music and the quaternary theme of a vocal performance is commonly known as the Sanchari. It is only use in the Dhrupad traditions, not in other traditions.
10. Abhog: In Indian Classical Music, the last part or paragraph of a lyrics in Dhrupad style of music and the tertiary theme of a vocal performance is commonly known as the Abhog. It is also only use in the Dhrupad traditions, not in other traditions.