Indian classical music - Page 9

Tappa

A form of classical singing that began with the camel-drivers of the north-west region of Punjab, tappa has a dual advantage - the songs have a raga basis and some taals are common to both khayal and tappa.

The sthayi and antara sections are not present in this form which has a brief text and quick turn of phrase, with short taans unaccompanied by any elaboration. Shringara rasa is the predominant mood of tappa and the compositions may well be in ragas like Kafi, Jhinjhoti, Pilu, Gara, Barva, Manjh Khamaj. Pt Kumara Gandharva is credited with bringing this genre to the forefront, and tappas can be heard in the Gwalior gharana performances.

Ghazal

Ghazals are not musical compositions - they are basically rhyming couplets following a particular meter. They have neither a raaga nor a taala associated with them. Ghazal is an Arabic word which literally means talking to women. Ghazal originated in Iran in the 10th century A.D. It grew from the Persian qasida, which verse form had come to Iran from Arabia. The qasida was a panegyric written in praise of the emperor or his noblemen. The part of the qasida called tashbib got detached and developed in due course of time into the ghazal. Whereas the qasida sometimes ran into as many as 100 couplets or more in mono rhyme, the ghazal seldom exceeded twelve, and settled down to an average of seven. Because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form of poetry in Iran. The ghazal is a poetic form comprising a collection of shers, independent two-lined poems. Thus each couplet, or sher, is a virtually autonomous expression of ideas. However a collection of sher does not necessarily constitute a ghazal. The couplets have to be in the same meter and the lines have to be rhyming. A ghazal is always introduced with a matla, a mono-rhyming couplet (sher) whose pattern is repeated in the closing line of each successive couplet. This couplet was considered in Persian as a single line interrupted by a long pause. Thus a portion of the first line -- comprising not more than two or three words -- immediately preceding the rhyme-word at the end, should rhyme with its counterpart in the second line of the opening couplet, and afterwards alternately throughout the poem. Consider the following ghazal by Wali Mohammad, the father of urdu ghazals. The first line of matla ends with "hai kaam tujh lab kaa" and the second line with a rhyming "hai naam tujh lab kaa". The second lines of all the following couplets not only end with "tujh lab kaa" but have a rhyming word before that - naam, jaam, kalaam, payaam, davaam and shaam.
ruuh baKhshii hai kaam tujh lab kaa
dam-e-isaa hai naam tujh lab kaa husn ke khizr ne kiyaa labarez
aab-e-haivaa.N so.n jaam tujh lab kaa ma.ntaq-o-hikmat-o-maanii par
mushtamil hai kalaam tujh lab kaa rag-e-yaquut ke qalam so.n likhe.n
Khat parastaaN payaam tujh lab kaa sabzaa-o-barg-o-laalaa rakhate hai.n
shauq dil me.n davaam tujh lab kaa Gurq-e-shukar hue hai.n kaam-o-zabaa.N
jab liyaa huu.N mai.n naam tujh lab kaa hai "Wali" kii zabaa.N ko.n lazzat baKhsh
zikr har sub_h-o-shaam tujh lab kaa The opening couplet of the ghazal is always a representative couplet: it sets the mood and tone of the poem and prepares us for its proper appreciation. The last couplet of the ghazal called makta often includes the pen-name of the poet (like wali in the above ghazal), and is more personal than general in its tone and intent. Here the poet may express his own state of mind, or describe his religious faith, or pray for his beloved, or indulge in poetic self-praise. The different couplets of the ghazal are not bound by the unity and consistency of thought. Each couplet is a self-sufficient unit, detachable and quotable, generally containing the complete expression of an idea.

Some poets including Hasrat, Iqbal and Josh have written ghazals in the style of a nazm, based on a single theme, properly developed and concluded. But such ghazals are an exception rather than a rule, and the traditional ghazal still holds sway. However, we do come across, off and on, even in the works of classical poets, ghazals exhibiting continuity of theme or, more often, a set of verses connected in theme and thought. Such a thematic group is called a qita, and is presumably resorted to when a poet is confronted with an elaborate thought difficult to be condensed in a single verse. Although the ghazal deals with the whole spectrum of human experience, its central concern is love.

Compositions in Carnatic Music

Carnatic compositions have also originated from Prabandha. But unlike hindustani compositions they are highly evolved and have become the bedrock of carnatic music. Proper presentation of krithi and other forms of composition is the most important part of Carntic music.

Keerthana

Keerthana is known by many names - Dasapada, Devaranama, Divyanama. This form was popularized by various Haridasa-s, primarily Shri Purandara Dasa. Each Keerthana is set to a particular Raaga and Taala. Keerthana starts with an opening refrain or Pallavi. Then there are two or more Charana-s. First Pallavi in sung, followed by Charana-s. After each Charana, Pallavi is sung again. Keerthana-s are essentially devotional in nature. They cover a wide range of subjects and diverse aspects of the mystic life. Most of Haridasa keerthana is in Kannada, usually simple and easy to understand, rather than of high literature. For their simplicity and universal values espoused, the haridasa keerthana have become an important and integral part of Kannada literature.

Geetha

Geetha is an old form of compositions and probably evolved even before keerthana format. Now it is primarily used for learning classical music. The first composition one learns as a student is geetha. Geetha is a very simple composition in terms of raga and tala. The older compositions only have pallavi and charana-s, while the newer ones may have anupallavi as well. There are some special types of compositions called lakshana geetha. They describe the lakshana i.e. characteristics of a raaga and they are composed in the raaga they are describing. Geetha-s of Shri Purandara Dasa - Shri Ganapathe and Kereya Neeranu Kerege Challi are the first compositions that are usually learnt by students.

Raaga: malahari
Taala: tishra tripuTa
Composer: Purandara Daasa
Language: Kannada

Pallavi Hariya karunadolaado bhaagyava
Hari samaarpanemaadi badukiro

Charana 1 Kereya neeranu kerege challi
Varava padedavarante kaaniro

Charana 2

Shree purandara vittahala raaya
Charana kamalavanambi badukiro

Krithi

Keerthana form of composition evolved into Krithi form and came to be fully established by the Trinity of composers, Muthuswamy Dheekshithar, Shyama Shastry and Thyagaraja. In addition to Pallavi and Charana, krithi has Anupallavi, which comes just after Pallavi. A Krithi is set to a particular Raaga and a particular Taala. A krithi starts with Pallavi, which is usually in the lower register. Pallavi usually has two lines of lyrics. The lines are usually sung in various ways. Anupallavi follows pallavi and is usually in the higher register. Anupallavi is also sung in various ways. Thus, Raaga is introduced to the listener in both the registers. Pallavi is usually sung again after anupallavi. Then one or more Charana-s follow. Each Charana is usually has 4 lines of lyrics. Finally charana usually contains Mudra or the signature (or pen-name) of the composer. There are some Krithis which do not follow these rules strictly. Some krithis of Muthuswami Dikshitar have only two sections, the Pallavi and the Anupallavi, where the Anupallavi is called Samashti Charanam. Example: Anandamritakarshini in raga Amritavarshini. These probably reflect a period when the Krithi form was still developing. Some of Tyagaraja's krithis have multiple Charanams set to different raaga-s. Some krithis have Chithaswara and matching lyrics. In some krithis Solkattu is used in place of Chithaswara. Some Charana-s can be faster than the rest of the krithi. The lyrics of the krithi are usually devotional in nature. Since the trinity composed almost entirely devotional krithi's, composers after them have continued the tradition. Infact, krithi-s incorporate all the three important parts of carnatic music - Raaga, Taala and Bhava.

Raaga: Aabheri
Taala: Aadi
Composer: Tyaagaraaja
Language: Telugu

Pallavi
Nagumomu ganaleni najaali telisi nanu brovaga rada shree raghuvara nee

Anupallavi
Nagaraajadhara needu paraivaara lella ogibodhana jese vaaralu gaare yitu lundudure

Charana
Khagaraaju nee yanati vini vega chanaledo gaganaani kilaku bahu durambaninaado

Jagamele paramaatma evarito moralidudhu vaga jupaku talanu nannelukora thyagarajanuta nee

Varna

Varna is similar to krithi, with a few differences. It is used as a concert opener and usually studied before studying a full fledged krithi. This form was also perfected during the trinity period(18th-19th century). Varna consists of two parts -

Purvanga - consisting of three sections - pallavi, anupallavi and muktayi or chitta swara.
• Uttaranga - consisting of the Charana and the Charanaswara-s.

The pallavi and anupallavi, usually consisting of two lines each, are sung consecutively, followed by the Chittaswara. Then Purvanga is repeated, in multiple speeds, before going on to the Uttaranga. Charana has only one line with lyrics followed by four or more charana swara-s. The Uttaranga can also be rendered in multiple speeds. There are two types of varna. Tana Varna is used in music concerts and has lyrics only in the pallavi, anupallavi and the charana. Pada varna is mainly used in dance and has lyrics in pallavi, anupallavi, charana, charana swara and chittaswara.

Raaga: Kamaas
Taala: Aadi
Composer: H.N. Muttayyah Bhaagavatar
Language: Sanskrit / Kannada

Pallavi Maate malayadvaja pandya samjate matanga vadana guha

Anupallavi Shatodhari shankari chamundeshvari chandrakaladhari thaye gauri

Muktaayi swara saahitya Data sakala kalaa nipuna chatura data sulabha hridaya madhura vachana
Data sarasa ruchiratara svara laya geeta sukhada nija bhaava rasika vara data mahishura nada nalvati shree
Krishna rajendrara thaye sada pore mahite harikesha manohare sadaye

Charana

Shyame sakala bhuvana sarvabhaume shashi mandala madyage

Swara Jaathi

Swarajathi are similar to krithi-s and contain Swara and Jati (i.e. rhythmic solfas).

Just like a krithi, Swarajati has all the three sections - Pallavi, Anupallavi and Charana. The various Charana-s have different tunes and are first sung as swaras and then repeated with lyrics. Syama Sastri is credited with having developed this form from what used to be a dance form.

Thillana

Thillana-s are the carnatic counterpart of Hindustani Tarana. They consist of short lyrics and the rest of the composition has meaningless syllables like nadru, deem, dirana. It is closely associated with dance. Several tillanas composed by post trinity composers are available. Modern composers like Lalgudi Jayaraman, M Balamuralikrishna and Chitravina Ravikiran have also composed several popular thillana-s. These are normally sung towards the end of a concert.

The tillana consists of the usual three sections: Pallavi, Anupallavi and Charana. Pallavi and Anupallavi usually comprise swaras and jatis, while Charana comprises lyrics followed by passages of swara and jatis.

Concerts

Public performance of Indian Classical Music is a recent phenomenon, evolving only in the last century. Earlier the performances were confined to royal courts or temples. They showcase talents of one or two individuals, rather than a large group, as other classical traditions might do. The main performers will be one or two and a small number of accompanists support the main performer/s. The main performer will be a vocalist or play an instrument. He will be accompanied on one or two percussion instruments. In Hindustani music it is usually the Tabla, except in Dhrupad form where Pakhawaj is used. In Carnatic music the main percussion instrument is Mridanga. Ghata, Khanjira and Morsing are also frequently as additional percussion instruments (and rarely in the place of Mridanga). Thavil is used with Nadaswaram. The job of the persuasion accompanist is to maintain the rhythm and keep time according to the Taala being used. The main performer will also be accompanied by a "melody" accompanist. In Hindustani that is usually a Harmonium. Sarangi has become a rarity. Violin is used very rarely. In most of the instrumental concerts, a melody accompaniment is not used. In carnatic the accompanying instrument is Violin. Rarely other instruments like flute are used. Again, if the main performer is playing an instrument, there may not be a melody accompaniment. The drone is provided by Tanpura. Tanpura will be either played by a disciple of the main artist or by a professional tanpura player. Most of the top grade artists, especially when they get older will ask one of their main disciples to accompany them. If the main performer is a vocalist, the disciple will usually play the tanpura and also lend vocal support to the main artist, especially in Hindustani. If the main artist is playing an instrument, the disciple might accompany the artist on that instrument. It is not uncommon to see the son or daughter of the main artist accompanying the artist. Sometimes, there may be more than one Tanpura accompanists, esp. in Hindustani. Tanpura-s forming the backdrop on both the sides of the main artist make an excellent picture. Unfortunately, sometimes, a sruthi box or an electronic drone is used instead of Tanpura. The seating arrangement in concerts start with the main artist seated at the center. The percussion accompanist is usually to the right of the artist (left from audience perspective) and the melody accompanist sits to the left of the main artist. The tanpura artist sits just behind the main artist. Rest of the accompanists sit behind the main artist and the main accompanists. Usually the instruments are first brought out and kept on the stage. Then accompanists come and occupy their positions before the main artist comes on the stage. The artists sit cross legged on the stage, after removing the footwear as the tradition demands.

Artists spend some time tuning their instruments on the stage, though most of the tuning is expected to have been done before they come on the stage. The main artist tunes the Tanpura before the concert starts. Some instruments may need retuning as the concert proceeds, usually in between two raaga-s.