What is a Ghazal

Ghazal is an originally Persian form of poetry. In the Indian sub-continent, Ghazal became the most common form of poetry in the Urdu language and was popularized by classical poets like Mir Taqi Mir,Ghalib, Zauq and Sauda amongst the North Indian literary elite. Vocal music set to this mode of poetry is popular with multiple variations across Iran, Afghanistan, Central Asia, Turkey, India, Bangladeshand Pakistan. Ghazal exists in multiple variations, including folk and pop forms

What is a Thumri

Thumri is a semiclassical vocal form said to have begun with the court of Nawab Wajid Ali Shah, 1847-1856. There are three types of thumri: Punjabi, Lucknavi and Poorab ang thumri. The lyrics are typically in a proto-Hindi language called Braj bhasha and are usually romantic.

Some prominent recent performers of this genre are Bade Ghulam Ali Khan, Begum Akhtar, Girija Devi, Siddheshwari Devi, and Shobha Gurtu.

What is Tarana

Another vocal form, Tarana are medium-to-fast paced songs that are used to convey a mood of elation and are usually performed towards the end of a concert. They consist of a few lines of poetry with rhythmic syllables or bols set to a tune. The singer uses these few lines as a basis for fast improvisation. In some sense the tarana can be compared to the Tillana of Carnatic music, although the latter is primarily associated with dance.

What is Khayal

Main article: Khayal

Khayal is a form of vocal music in Hindustani music, adopted from medieval Persian music and based on Dhrupad music. Khayal, literally meaning "thought" or "imagination" in Hindi/Urdu originally from Arabic, Khyal, is special as it is based on improvising and expressing emotion. A Khayal is a 2 to 8 lined lyric set to tune. The lyric is of an emotional account possibly from poetic observation. Khayals are also more popularly depicting emotional significance between two lovers, a situation evoking intense feeling, or situations of ethological significance in Hinduism and Islam.

Th importance of the Khayal's content is for the singer to depict, through music in the set raga, the emotional significance of the Khayal. The singer improvises and finds inspiration within the raga to depict the Khayal.

The origination of Khayal is controversial, yet it is accepted that this style was based on Dhrupad gayaki and influenced by Persian music. Many argue that Amir Khusrau created the style in the late 16th century. This form was popularized by Mughal Emperor Mohammad Shah, through his court musicians. Some well-known composers of this period were Sadarang, Adarang, and Manrang.

   "Kaisku Marwa Jaayal Hamaraa    More darawa nayan ghar kan warahe,        Mohammad Shah ke Sadarangile,    Prem Piya la Chapate Apne,    Huntara Tana Mana Waarune"             - Mohammad Shah 

This Khayal bandish in raga Bibhas was popularized by D.V. Paluskar. It is interesting how this bandish mentions three names — Mohammad Shah, Sadarang, and Prem Piya.

Later performers include D. V. Paluskar, Satyakinkar Bandyopadhyay, Gyan Gosain, Amir Khan, Faiyaz Khan, Vinayak Rao Patwardhan, Pt. Shankar Rao Vyas, Narayanrao Vyas, Nazakat Ali and Salamat Ali Khan, Eknath Sarolkar, Kashinath Pant Marathe, Bade Ghulam Ali Khan, Smt. Kesarbai Kerkar, Mogubai Kurdikar, Krishnarao Shankar Pandit, Balabhau Umdekar Kundalguru, Gajananrao Joshi, S.N.Ratanjankar, Ram Marathe, Ratnakar Pai, Kumar Gandharva, Jitendra Abhisheki, A. Kanan, Basavaraj Rajaguru and Mallikarjun Mansur.

Some of the present day vocalists are Manas Chakraborty, Rashid Khan, Pandit Jasraj, Bhimsen Joshi, Gangubai Hangal, Yeshwantbua Joshi, Balasahab Poochwale, Girija Devi, Kishori Amonkar,Satyasheel Deshpande, Ustad Iqbal Ahmad Khan, Ishwarchandra Karkare, Rajshekhar Mansur, Ulhas Kashalkar, Shubhada Paradkar, Arun Bhaduri, Malini Rajurkar, Purnima Sen, Ajoy Chakrabarty,Prabakar Karekar, Alka Deo Marulkar, Sanjeev Abhyankar, Shruti Sadolikar, Ashwini Bhide, Padma Talwalkar, Arati Ankalikar-Tikekar, Chandrashekar Swami, Venkatesh Kumar, Mashkoor Ali Khan,Subhra Guha, Sulekha Bhat, Parameshwar Hegde, Indrani Choudhury, Ganapathi Bhatt, Madhav Gudi, Bhawani Angiras, Smt. Shashwati Mandal Paul, Dr.Tapasi Ghosh, Nagaraj Rao Havaldar,Somanath Mardoor, Panchakshariswamy Mattigatti, Shivanand Patil, Raghunandan Panshikar, Manjiri Asanare-Kelkar, Srivani Jade and Sanjeev Chimmalgi.

What is Dhrupad

Main article: Dhrupad

Dhrupad is an old style of singing, traditionally performed by male singers. It is performed with a tanpura and a Pakhawaj as instrumental accompaniments. The lyrics, which sometimes were in Sanskrit centuries ago, are presently often sung in Brajbhasha, a medieval form of Hindi that was spoken in the Mathura area. The Rudra Veena, an ancient string instrument, is used in instrumental music in the style of Dhrupad.

Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic Alap, where the syllables of the following mantra is recited:

"Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om Narayan".

The alap gradually unfolds into more rhythmic Jod and Jhala sections. This is followed by a rendition of Bandish, with the pakhawaj as an accompaniment. The great Indian musician Tansen sang in the Dhrupad style. A lighter form of Dhrupad, called Dhamar, is sung primarily during the festival of Holi.

Dhrupad was the main form of northern Indian classical music until two centuries ago, but has since then given way to the somewhat less austere, khyal, a more free-form style of singing. Since losing its main patrons among the royalty in Indian princely states, Dhrupad ran the risk of becoming extinct in the first half of the twentieth century. Fortunately, the efforts by a few proponents from the Dagarfamily have led to its revival and eventual popularization in India and in the West.

Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar, Bishnupur lineage, including the late Senior Dagar brothers, i.e. Us. Nasir Moinuddin Dagar and Us. Nasir Aminuddin Dagar, the late Junior Dagar brothers, i.e. Us. Nasir Zahiruddin and Us. Nasir Faiyazuddin Dagar, Us. Wasifuddin Dagar, Us. Fariduddin Dagar, Us. Sayeeduddin Dagar. Other leading exponents include the Gundecha Brothers (i.e. Ramakant and Umakant Gundecha), Dr. Ritwik Sanyal and Pt. Uday Bhawalkar, who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family. Bishnupur Gharana based in West Bengal is a key school that has been propagating this style of singing since the Mughal times.

About Thaath

According to Vishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologists in the field of North Indian classical music in the twentieth century, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi; if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thaats. For instance, the ragas Shree and Puriya Dhanashri are based on the Poorvi thaat, Malkauns on the Bhairavi, and Darbari Kanada on the Asavari thaat. It is important to point out that Bhatkande's thaat-raga theory is hardly infallible, but it is nevertheless an important classificatory device with which to order, and make sense of, a bewildering array of ragas; and it is also a useful tool in the dissemination of the music to students.

It is worth noting that almost all the thaats mentioned above are also ragas; and yet a thaat is a very different musical entity from a raga, and in this difference may lie, crucially, a definition of what a raga is or is not. A thaat is a musical scale, conceived of as a Western musical scale might be, with the seven notes presented in their order of ascent (arohan). For instance, Asavari is presented, and notated, as Sa Re Ga (flat or komal) Ma Pa Dha (flat) Ni (flat) in ascent, or arohan. This is, however, only the skeletal musical structure of the raga Asavari, an abstraction that is to be found nowhere but on the printed page or inside a textbook; the raga Asavari, in reality, and in exposition, is a very different thing. It goes straight from Re to Ma, and comes down to touch Ga, as it ascends; having touched Ni later, it returns to Pa, and, touching the upper Sa, returns to Dha and Pa again and again. Arohan and avarohan are, thus, inextricably and inseparably intermingled in the structure of this raga. The raga, then, is not a musical scale in the Western sense; it is a characteristic arrangement or progression of notes whose full potential and complexity can be realised only in exposition, and not upon the printed page. A condensed version of this characteristic arrangement of notes, peculiar to each raga, may be called the pakad, by which a listener hears the phrase Sa Re Ga Ma Pa Ga, none of these notes being flat or sharp. Repeated in a recital, they will know that they are listening to the raga Gaud Sarang.

Two ragas may have identical notes and yet be very different ragas; for example, two ragas mentioned earlier, Shree and Puriya Dhanashri, have exactly the same notes, but are unmistakably different in structure and temperament. The first can be identified by its continual exploration of the relationship of the note Re to the note Paa; while the repetition of the phrase Ma Re Ga Re Ma Ga, a phrase that would be inadmissible in the first raga, is an enduring feature of the latter. Certain arrangements of notes, then, are opposite to particular ragas and taboo to all others. A simple and abstract knowledge, thus of the notes of a raga or the thaat on which it is based, is hardly enough to ensure a true familiarity or engagement with the raga, although it may serve as a convenient starting point. Thaat familiarity can only come from a constant exposure to, and critical engagement, with raga's exposition.

For further information pertinent to the definition of a raga, please refer to the glossary.

Tappa an Overview

Chaitanya Kunte is a talented composer, Harmonium player and scholar in the field of Hindustani music. He has received fellowship from Ministry of Culture, Govt. of India for research work on Tappa. This article is derived from this research document and exclusively written for SwarGanga.

What is 'Tappa'?
Tappa is one of the major genres of musical tradition in India. 'Tappa' is believed to be originated from musical talent of Ghulam Nabi Shori, i.e. Shori Miyan after getting influenced by folk music of Punjab and Sindh. It is supposed that Tappa is originally, the folk song of camel-drivers of Punjab-Sindh region, so it contains the lyrics in Punjabi language. Basically the lyrical content depicts the love and sorrow of separation of Hir and Ranjha or any lovers. Raags expressing romance, light mood or pathos such as Khamaj, Kafi, Bhairavi, Jhinjhoti, Tilang, Sindhura, Des, and Taals such as Punjabi, Pashto, Sitarkhani are popularly practiced for Tappa. The special feature of Tappa is the energetic Taan and uneven rhythmic accent.

About Shouri Miyan:
Ghulam Nabi Shori alias Shori Miyan, son of Ghulam Rasool Khan was court-singer of Nabab Asaf Uddoullah of Lucknow (1776-1797 A.D.) The common myth tells that he was initially trained in Khayal singing and had a great command on 'Taan'. He was not satisfied with Khayal for expressing his skill of singing Taan. So, he restlessly traveled in Punjab, where he listened to the folk songs of camel-drivers, which he thought to be suitable for his own style of singing. He composed 'Tappa' using various ornamentations with Taan, Jamjama, Khatka, etc. In the Tappas of Shori Miyan, in Antara we find his name as 'Shori'.

Tappa Gayaki:
The style of singing Tappa involves intricate patterns of typical 'Taan of Tappa'. In Taal Punjabi, which is also called as 'Tappe ka theka', each cycle of Taal should have the 'tension and release' principle followed during singing Taan. The rule about improvising Tappa is, firstly show the Thumri-ang in Alap and then proceed towards the Tanayyat, using the words woven in speedy and uneven rhythmic accent. Tappa does not include only acrobatics of 'Tanayyat', but it has an important aspect of emotional content produced through the appropriate pronunciation of the lyric. The 'Chhoot Taan' in Tappa has a typically Arabic character - starting with a jerk, it slows down and then again gets accelerated. The words are uttered by uneven pace and accent, which is another feature of Tappa. Tappa gayaki also inculcates other ornamentations such as jamjama, gitakari, khatka, murki, harakat. Tappa is a specialty of Gwalior Gharana. There are two main styles of Tappa singing - Tappa in Gwalior Gharana and of Benaras Gharana. There are a few structural differences such as use of Taal and style of improvisation, but the fundamental principles are the same.

One can notice the influence of Tappa gayaki on the Khayal rendering of vocalists from Gwalior and Benaras gharana. Even the singers from Patiyala gharana have some glimpse of Tappa in their Taan. The influence of Tappa on the other genres culminated into the development of dual natured compositions such as Tap-Khayal, Tap-Tarana, Tap-Thumari, etc.

The Laawani, Keertan and Natya-sangeet in Maharashtra are also influenced with Tappa Gayaki. There few Marathi Tappas also. Nidhubabu's Bengali Tappa and the impact of Tappa on the Rabindra Sangeet also reflects the popularity of Tappa as genre in the last century.

Tappa in the last century:
In school of Gwalior, Krishnarao Pandit and Rajabhaiyya Punchhawale flourished as important Tappa singers in the early decades of 20th century. In the post independence period, Balasaheb Puchhawale, Sharachchandra Arolkar, Jal Balaporia, etc. were the torchbearers in this tradition. Arolkar's disciples such as Sharad Sathe and Neela Bhagwat had kept the tradition intact. In the scenario of performing stream, the most illustrious Tappa performer from Gwalior Gharana is, no doubt, Malini Rajurkar! In 60's and 70's, when Tappa did not remain frequent in concerts, she popularized Tappa in common audience; and by so, she became a reason for rousing general curiosity for Tappa in later generations. Her excellence in Tappa is marked with her clear, bright Taan and some new techniques she used in exploring Tappa such as Murcchana.

Pt. Kumar Gandharva, the famous maestro of Gwalior Gharana, had his own ideas about Tappa and he presented a special concert - 'Thumarai-Tappa-Tarana Mehfil' in which he deliberately displayed this thought on the co-relation of these three forms. He also composed few Tappas, in Punjabi as well as Malawi dialect. His disciples, Mukul Shivaputra and Vijay Sardeshmukh attest proficiency in Tappa rendering. Jitendra Abisheki studied Tappa from both, Gwalior and Banaras school, and his disciple Vijay Koparkar is an accomplished Tappa singer in contemporary scene. Popular artistes like Arati Ankalikar, Asha Khadilkar and Manjiri Asnare exhibit their inclination for Tappa while performing in concerts, which shows rising popularity for Tappa. In Benaras Gharana, after many masters of Tappa in early decades of 20th cent, such as Bade Ramdasji and Sidhheshwari Devi, noteworthy vocalists giving full justice to Tappa are Girija Devi , Rajabhau Kogje, Ganesh Prasad Misra, Rajan and Sajan Misra.

Very few instrumentalists, such as Pt. Budhaditya Mukherji (Sitar) and Dr. Arawind Thatte (Harmonium) have performed Tappa on their instruments with much precision and command.

Raag Detail

Some times some raags sound almost similar but still there exists a little difference in them. These differences can be seen to be as follows :

1. Similar Thaat (scale) and melodic configuration :
   
   Some times a raag is only separated from the other by means of stressing a particular note in one of them. For example the only difference between raag Hameer and raag Hameer Kalyaan is there is emphasis on Shuddha Nishad in Hamir Kalyan.
   
   
2. Different Thaat (scale) but similar melodic configuration
   
   In some raags the melodic structure the mood they present is almost the same but one or two notes vary in their format i.e. are Komal or Shuddha or Teevra. For example in Asavari and Komal Rishabh Asavari only difference is the later uses Komal Rishabh instead of Shuddha Rishabh. Hence the raags are considered totally different.
   
   
3. Identical Thaat (scale) but different melodic configuration
   
   These raags are a challenge to the performer. As the scale remains the same and they are separated on the basis of the melodic configuration only. There are subtle differences made in the form of a meend, use of a certain musical phrase, emphasis on certain notes, etc. For example Raag Goud Saarang and Raag Chhayanat.
   
   
4. Partial similarity
   
   Here the chances of confusion are almost nill. This is the case of those raags that are derived from two different raags where one tetra chord is derived from one raag and the next from some other major raag. For example Raag Ahir Bhairav is derived from Bhairav a major raag and Kafi. The resemblance to Kafi is limited to the lower tetrachord (poorvanga) only.
   
   

Alpatva (Insignificance) and Bahutva (Predominance)

Bahutva : This is shown in two ways

• By singing the note repeatedly which is termed as abhyaas, and
• By singing the note for a longer time. This is called Aalanghan (grasping)
  
  

Bahutva is related to Vaadi and Samvaadi of a raag as well as other notes of the raag which are prominent in the presentation of that raag.

Alpatva : This is again done in two ways.

• By lack of repetition or Anabhyas
• By only briefly touching the note or langhan. The swar that is completely omitted in aroha or avroha, gets an Alpatva by Langhan.
  
  

For example : In Raag Bihag the notes Rishabh and Dhaivat are getting alpatva by langhan as they are completely omitted in the Aaroha. However these swars are present in the avroha but the importance to these swars is again less, i.e. in this raag there is no "nyas" on these swars, that is why these swars get alpatva by anabhyas.

Avirbhaav and Tirobhaav

As the musician employs different note combinations in the development of a raag, there is always a danger that the audience may feel he is snatching notes of another raag which uses similar combinations.

When the raag being presented is clearly defined it's called as Aavirbhaav.

On the other hand when the raag is deliberately and cleverly concealed it's called as Tirobhav. This prevarication is used as an artistic device.

This process of Avirbhaav and Tirobhaav, an almost sensual game of creating confusion and resolving it by clear statement of the raag, makes the raag stand out more luminously.

The Jod Raag (Compound raag)

The basic principles in combining two raag is the constituent raags should complement each other. The emotional effect of combining them should be pleasing and not disturbing, and not only for intellectual curiosity. There are at least two forms of Jod raag .

1. One raag is given predominance than the other. For example in Raag Basant Bahaar, Basant is considered the main raag to which Raag Bahaar is combined.
2. Another way of combining is to use the notes of one raag and Chalan (melodic movement) of the other. For instance in Raag Megh Malhar, the notes belonging to Raag Saarang are used and the raag is sung in the manner employed by the Malhaar group.

There are three ways these raags are created

1. Combining the Aaroha of one raag and the Avaroha of another.
2. To have each tetrachord composed of notes of different raag (either shuddha or vikrit).
3. Use phrases from two or more raags and alternate between them.

what is Thaath or Thaat

According to Vishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologists in the field of North Indian classical music in the twentieth century, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi; if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thaats. For instance, the ragas Shri and Puriya Dhanashri are based on the Poorvi thaat, Malkauns on the Bhairavi, and Darbari Kanada on the Asvari thaat. It is important to point out that Bhatkande's thaat-raga theory is not very accurate, but it is nevertheless an important classificatory device with which to order, and make sense of, a bewildering array of ragas; and it is also a useful tool in the dissemination of the music to students.

There are certain rules for these Thaats.

1. A Thaat must have seven notes out of the twelve notes [Seven Shuddha, Four komal (Re, Ga, Dha , Ni), one teevra (Ma) ], placed in an ascending order. Both the forms of the notes can be used.
2. Thaat has only an Aaroha.
3. Thaats are not sung but the raags produced from the Thaats are sung.
4. Thaats are named after the popular raag of that Thaat. For example Bhairavi is a popular raag and the thaat of the raag Bhairavi is named after the raag.

The 10 basic thaats acording to the Bhatkhande System are as follows

Bilawal :




Bilawal is the most basic of all the ten thaats. All the swars in the thaat are shuddha or all swars in the natural scale. Bilawal as a raag is not rendered these days however a small variation of the raag called Alahaiya Bilawal is very common. This is a mornig raag and its pictorial descriptions create a rich, sensuous ambience in consonance with its performance.

Raags in Bilawal Thaat : Deskar, Haunsdhwani, Variations of Bilawal.




Khamaj :




The next thaat is Khamaj which can be obtained by replacing the Shuddha Nishad of Bilawal by Komal Nishad. The raags of this thaat are full of Shringar Ras (romantic) hence this raag is mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial descriptions in the existing texts are sensuous and even today, the raag Khamaj is considered to be a 'flirtatious' raag. There is another theory which assumes that in the past, Khamaj scale found its way in Ch'in music of the late medieval China.

Raags in Khamaj Thaat : Rageshree, Jhinjhoti, Des, Tilak Kamod, Jaijaiwanti, Khambavati etc.




Kafi :




Kafi thaat makes use of the Komal Gandhar and Komal Nishad. So basically it adds Komal Gandhar to the Khamaj Thaat. raag Kafi is one of the oldest raags and its intervals are described as basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raag and said to convey the mood of spring time.

Raags in Kafi Thaat : Dhanashree, Dhani, Bhimpalasi, Pilu, Megh Malhar, Bageshree etc.




Asavari :




Add Komal Dhaivat to Kafi thaat and you get Asavari Thaat. raag Asavari is full of tyag, the mood of renunciation and sacrifice as well as pathos. It is best suited for late morning. However important evening/night raags like Darbari and Adana also use notes of asavari thaat with different styles, stress points and ornamentations.

Raags in Asavari Thaat : Asavari, Desi, Darbari, Adana, Jaunpuri etc.




Bhairavi :




Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars. Bhairavi raag is names after theshakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and compassion. Bhairavi is actually performed early in the morning in a peaceful, serious and ocassionally sad mood. Traditionally it is rendered as the last item of a program, for its unique fullness of sentiments as well as its wide scope of the tonal combinations. Pictorially, Bhairavi is represented in female form, as the wife of Bhairav.

Raags in Bhairavi Thaat : Malkauns, Bilaskhani Todi, Bhupali Todi, Kaunsi Kanada etc.




Bhairav :




Bhairav thaat raags make use of Komal Rishabh and Komal Dhaivat. Bhairav is one of the names of Lord Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The raag too has some of these masculine and scetic attributes in its form and compositions. The raag itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valor to peace. You can see a lot of variations on raag Bhairav including (but not restricted to) Ahir Bhairav, Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. This raag is usually performed in a devotional mood in the early morning hours. The vibrations of the notes in Bhairav is said to clear one's whole mind. The pictorial depictions of raag Bhairav in the ancient texts are austere as well as awe-inspiring.

Raags in Bhairav Thaat : Ramkali, Gunkari, Meghranjani, Jogiya, Bhairav and its variations etc.




Kalyan :




Kalyan thaat consists of a important group of evening raags. Characterized by the teevra Madhyam, this thaat literally means good luck. It is considered to be a blessing-seeking and soothing raag. As a result, it is performed in the evening at the beginning of a concert. This raag creates a feeling of the unfolding of an evening. This thaat is huge and consists of many variations on the basic kalyan thaat including raags (but not restricted to) like Shuddha Kalyan, Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan (Haunsdhwani + Yaman), Savani Kalyan etc.

Raags in Kalyan Thaat : Yaman, Bhupali, Hindol, Kedar, Kamod, etc.




Marwa :




Marwa thaat is obtained by adding a komal Rishabh to Kalyan thaat. The mood of the Marwa family raags is strongly and easily recognizable. The Shadja remains in the form of a shadow till the very end, where it almost comes as a surprise. komal Rishabh and shuddha Dhaivat are ver important. The overall mood of this raag is of sunset where the night approaches much faster than in northern latitudes. The onrushing darkness awakens in many observers, a feeling of anxiety and solemn expectation.

Raags in Marwa Thaat : Marwa, Puriya, Bhatiyaar, Bibhas, Sohoni etc.




Poorvi :




Poorvi thaat adds a komal Dhaivat to Marwa thaat. These thaat raags usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which distinguishes evening from the morning raags (dawn and sunset). The thaat raag Poorvi is deeply serious quite and mysterious in character and is performed at the time of sunset. Pictorial depictions in early texts, often mention the poise, grace and charm of Poorvi.

Raags in Poorvi Thaat : Puriya Dhanashree, Gauri, Shree, Paraj, Basant etc.




Todi :




Todi is the king of all thaats. Todi pictures nearly always show a petite, beautiful woman, holding veena, with a deer around her, standing in a lovely, lush green forest. Todi represents the mood of delighted adoration with a gentle, loving sentiment and its traditionally performed in the late morning.

Raags in Todi Thaat : Miyan Ki Todi, Gujari Todi, Madhuvanti, Multani etc.

Articles - Thumari, Dadra and other semi-classical forms in Indian Classical Musi

Chaitanya Kunte is a disciple of Dr. Arawind Thatte. Chaitanya has created a niche for himself as a talented and well appreciated young composer. His compositions cover a wide range of genre such as Khayal, Tappa, Tarana, Chataranga, Sadra, Sargam Geet, Thumari, Dadra, Bhajan etc. In the following article Chaitanya shares his knowledge about Thumari and other Semi Classical music forms in Indian Music.

Thumari stands as an important and dominant genre in Indian music along with Dhrupad, Khayal and Tappa; as a well-accepted genre by all performers, musicologists and audience. With keeping its unique character intact as a musical form, Thumari has its own idiom, scholastic tradition, aesthetics and mannerisms, which are in many ways different than Khayal and Tappa, but still there are many commonalities.

The Hindi word 'Thumari' is said to be derived from - 'Thumakna' meaning an attractive gait. So, literary meaning is 'the song having attractive - rather sensuous, gait of melody and rhythm'. The content of sensuousness is the main emotive basis in Thumari, though there are many compositions of Thumari depicting the devotional aspect. An example of thumri is Bari Umar Larkaiya Na Chhedo Saiyyan by Shobha Gurtu

Origin:
Some musicologists speculate about the traces of Thumari in ancient form - 'Charchari Prabandh' or 'Hallisak Geeti'. But the available documentation on Thumari mentions its origin in around 16-17th century A.D. Thumari is said to be originated from the songs of Northern Indian folks, specifically from the region between Ganga - Yamuna Rivers.

Language:
These songs are basically in the regional dialects of Hindi such as Awadhi, Bhojpuri, Mirzapuri, etc. But there are some compositions of Thumari in other languages such as Rajasthani, Marathi and Bengali, also. The dialect of Thumari is soft and tender than any other forms and it allows making colloquial usage of words to sound them elastic, for example - 'Paani' becomes 'Paniyaa' and 'Piyaa' turns into 'Piu' or 'Piyaruwa', etc.

Subject matter:
Thumari portrays mainly various moods in love - unison, separation and such ups and downs in the journey of relationship. The main character in the lyric of Thumari is mostly a woman in love, and the illustration differs in the stages of the disposition such as age, social status, etc.

Musical characteristics:
In Thumari, the lyrics i.e. 'Bol-ang', is very important. So, the musical elaboration of the words with different shades is focused in the rendering, which is called as 'Bol Banaao'. Thins involves Alap, some times with mixtures of Raags for highlighting the sentiments. After singing the Sthayi and Antara in slow tempo, usually there is rendition of words in fast progression on Tabla called 'Laggi' when the singer twists the words with melodic variations called as 'Bol-Baant'.

Raags:
Thumari is sung mostly in the so called 'lighter' Raags such as Khamaj, Kafi, Tilang, Desh, Tilak Kamod, Sorath, Piloo, Mand,Manjh-Khamaj, Jogia, Kalingda, Shiv-ranjani, Bhairavi, etc. in which there is wider scope for emotive improvisation with the subtleties in Alankaars, mixtures of Raags. So, many times, Thumari is found in combination of some Dhuns, so called as 'Jhilla' and 'Jangulaa'. But the tradition has gifted us some Thumaris in raags typical of Khayal, such as Bihag, Shahana, Sarang, Poorvi, Kalyan, Sohni, etc.

Taals:
The Taals for Thumari are Deepachandi, Addha, Ikwaai, Sitarkhani, and some 'Bandhi Thumari' is to be sung in Jhaptaal, Ektaal also. There taals of smaller cycle, derived from folk music, that are Kehrawa, Dadra, Khemta, Chachar which are used for the compositions of Dadra, in fast tempo. Some able Thumari singers also sing Thumari in slow tempo Kehrawa or Dadra.

Difference between Thumari and Dadra:
'Dadra' can be explained as a speedier version of Thumari, approximately. Though the name suggests about the Taal Dadra, the compositions are set in other taals than dadra such as Kehrwa and Chachar. An example of a dadra is Savare Aijaiyo by Dr Vasantrao Deshpande

Though Thumari and Dadra are mentioned always as a twin-term, there is some distinction -

1. Thumari is usually sung in slow tempo and Dadra is bit faster.
2. Thumari has more elaborate, lengthy structure of improvisation than crisp, compact Dadra.
3. The lyric of Thumari generally possesses only two parts - Sthayi and Antara. On the contrary, Dadra is decorated by and large with more than one Ataras.
4. Thumari mostly says purely about the human love relationship. But the songs in the category of Dadra such as Kajri, Jhoola, Hori, Chaiti, etc. mostly depict the nature, seasonal variation and the human sentiments in that reference.

Forms under the umbrella of Dadra:

• Kajri: 'Kajri' word means 'Black - rainy clouds'. Kajri mainly explains the pathos of a separated lover during rainy season. But the typical of Mirzapuri Kajri also narrates the joy in rains. Eg. Shobha Gurtu - Tarsat Jiyara Hamar Naihar Me
• Sawan: Sawan also is a rainy season song, but rather than explaining the human sentiments, it gives emphasis on the seasonal beauty. Eg. Shobha Gurtu - Sakhi Sawan Aayo
• Jhoola: This is the song while playing the swings, sung by women in north India during the rainy season, with the depiction of romantic mood of Lord Krishna and Radha. Eg. Shobha Gurtu - Jhoola Dheerese Jhulao
• Chaiti: Song to be sung in the summer month, Chaitra, which has depiction of girl asking for new bridal dress to her husband, mostly. In Chaiti, there is usage of words 'Ho Raam'. Eg. Shobha Gurtu - Chaitar Chunariya Rang De
• Hori: Hori in Thumari style is called as 'Kacchi Hori' in which the festival of colors is described. Eg. Shobha Gurtu- Hori Khelan Kaise Jaoon
• Barahmasa: That has description of all the three seasons in the twelve months in Indian scenario.

Thumari and Bhajan:
'Bhajan' means devotional song, specifically written by the saint-poets such as Meerabai, Kabir, Surdas, etc. Many Thumari singers sing the Bhajans in the format of Thumari-Dadra. So, it adds the repertoire of the Thumari's subject matter, not restricting it only to the sensual realm. The compositions such as 'Saiyya Nikas Gaye' or 'Barse Badariya Sawan Ki' are fine examples of Thumari-Ang Bhajans.

Thumari and Ghazal:
It is a form of Urdu-Farsi poetry with its unique stylistic construction and subject matter is mainly related to love relationship. Till the first half of 20th century, Ghazal was also often sung in Thumari-Dadra format. But later, as there was development of distinct style of Ghazal rendering, this form was separated from Thumari's influence. On the other hand, there are some Dadras in which Sher's (couplet) in Urdu poetry are rendered between two Antaras. For example - 'Chha Rahi kali Ghata' (Dadra in Desh).

Gharanas in Thumari: Thumari is said to be originated in the Purab, i.e. eastern region of Ganga-Yamuna rivers in north India, so it is called as 'Purabi' or 'Banarasi' Thumari, which is sung mostly in slow tempo. Later new style emerge called 'Lucknowi Thumari' which gives more importance to fast tempo compositions, also called as 'Pachhahi Thumari'. Another school in Thumari came out, that was 'Punjabi Thumari' which has lighter rendering, but fanciful and startlingly attractive phrases.

Benaras Gharana - Girija Dev - Pilu - Preeti Kiye
Punjab Gharana - Ustad Bade Ghulam Ali Khan - Pilu - Kate Na Birha Ki Raat