*This is the feedback I received in another thread.Dear satyabalu sir -- Since i'm not well versed in carnatic based writing, i end up reflecting the thoughts and perceptions in a nomenclature/jargon/glossary that i'm slightly exposed with. I sincerely apologize for the pains being caused to go through the article. Will defintely try my level best to scale into carnatic based writing.
I'm highlighting a set of important "alankaar" glossaries (the ones that you highlighted and the other common-ones) for your perusal. Khyal system of music has an array of alankaars that a performer will have to demonstrate as part of presentation:
Laya-Bol – Pronouncement of Bol (words) in laya.
Layakaari – Play of bandish in a laya (in the confirmation to the type of taal that the bandish is set into). People also sing sargams as part of layakaari.
Khatka – The act of giving a jerk to a lower-note while trying to take higher-note.
Murak and Murki – slight vibration of single-note with the adjoining note. When we do this with multiple-notes with a slightly increased vibration, it becomes murki.
Mukda – Starting phrase (at times, starting word) of the stayi ( bandish comprises of stayi and Antara)
Pakad – Key signatory phase that constitutes the frame of a raga.
Sargam – notations or swarams
Taankaari – The act of taking taans.
Tayyaari – readiness
Riyaz – practice
Meend – glide
Kan – Application of a swara with an adjoining swara.
Harqat – is similar to murak – but is slightly even lighter and swift. It also features a finish of a small taan.
Bol-taan – Formation of taans using bols(words)
Bol-banav – This is a way of taking bols without spreading the letters in the bol (free of layakaari) and arriving at the ‘sam’ correctly.
Bol-baant – Spreading of letters of the bols over the notes.
Badhat – raga elaboration that explores every avenue of the raga framework.
Aamad – The process of approaching ‘sam’ with mukda.
Bol-alaap – Taking the bol (instead of alaap) to demonstrate alaap. This is usually done in vilambit.
Behlawa – is an artful way of enriching exposition of raga with combined development and progression of the raga, mood of the raga and meaning of the word expressively. It gives a very solid ornamented phrases without disturbing the mood of rasikas.
Chalan – systemic movement of raga
Thaat – parent scale
Taan – refers to intensified creation of varied patterns in a raga scale. There are many defined varieties of taans in khyal system of music (example: gamak taans, chut taans, sapat taans, pirat taans(spiral taans), koot taans etc)
Cheez – means a composition
Palta – while its literal meaning is ‘turning back’ or ‘turning over’, musically it refers to the permutational treatment of notes.
upaj -- literal meaning 'yield'; musically or contextually -- it alludes to 'yield of musical ideas'
Dadra - refers to taal; it also refers to a type of light-genre filled with importance for poetry, dhun and emotions
Gharana gayaki -- a person who adheres to the "baani" and characteristics of any particular gharana