Singing Vocab
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| Dhwani | Every sound
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| Kampann | Vibration; originates when an object vibrates
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| Aandolan | While vibrating, when the object goes up from its original position,then equally goes down and comes back to its original position
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| Naad | A constant,long,sweet and music related to a sound(dhwani). it can be higher or lower depending on the andolan sankhyaa(number)
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| Shruti | 22 Naads meaning that only 22 can be heard and differentiated.
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| Sangeet | Music; is a combination of singing, playing, and dancing there is lok and shastriya
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| Lok Sangeet | easy to learn and sing; does not have many strict rules, but words are important
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| Shastriya Sangeet | strictly follows rules, swars are very important
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| Hindustani and Carnatic Sangeet Similarities | Sangeet; swars(12), shrutis(22), patterns,taals, thaath to raag
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| Hindustani and Carnatic Sangeet Differences | names of thaaths, raags and taals, shrutis considered as the swars
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| Vivaadi Swar | a varigit swar is use in a raag to increase the melody and beauty of that raag
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| Gamak | a special type of Kampann of wars which is very melodious to the listener Examples are Khatkaa,Murki,Meend,Zamzamaa,etc.
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| Meend | an art of singing two swars in such a way that all the swars lying in between are touched gently
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| Zamzamaa | the process of singing more than one war in a fast speed. This word came from Persia
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| Ghaseet | while playing a string instrument, the art of going from swar the the other in such a way that all the swars in between these 2 swars are touched (played)
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| Janya Raag | raags that originates from thaaths
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| Sankeern | a raag that is composed from more than two raags. for example Bhairavi, Peelu, Sur Malhaar, Abhogi Kanda, etc.
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| Aaroh | aschending order (the process of going up) the swars. It indicates the swars used and not used in the raag. It also indicates whether the raag uses any komal or tivra swars.
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| Avroh | descending order (the process of going down) the swars. It indicates the wars used and not used in the raag. It also indficates if the raag uses any komal or tivra swars.
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| Pakad | shows the nature and style of the raag using the least number of swars.immediately helps us get a hold of the raag.It introduces the raag and it contains the improtant (or prominent) phrases of the raag. It is the the identity(summary) of any given raag.
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| Ansh/Vaadi Swar | most improtant swar of the raag
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| Samvaadi Swar | the second most important swar in the raag
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| Anuvaadi Swars | all of the swars used in the raag except for the vaadi and samvaadi swars
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| Kan/Sparsh Swar | a swar that is touched before singing a swar to add depth
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| Grah Swar | a swar in the raag from which the aalap-taans start from
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| Nyaas | means rest; a swar on which we rest again and again in the aalaap
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| Vakra Swar | when a swar interferes with the order of the swars in the aaroh or avroh
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| Shudh Raag | a raag that has it's own specific and clear identity asnd is not like any other raag. For exampl: Bilawal, Bhupali, Yaman, Todi, Kedar, Bhairav, Malkauns,etc.
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| Chhalgatva/Chhayalag Raag | a raag that is a mixture of two raag. For example: Basant-Bahaar, Bhairav-Bahaar, Baageshri-Kanda, JayJayvanti, ShyaamKalyan, etc
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| Janak Mel/Thaath | composition/group of swars(7)from which raags can originate. There are 10 in Hindustani Shastriya Sangeet.
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