Vocal forms in the Natyashastra Period

Jati, Saptgeet and Dhruva

After vedic period, ideas like Murchhana, Taal, Gandharva, Jati evolved through the meditation of the musicians. In Purankal, a song which has literary meaning was known as 'Sangeet'. A song with no literary meaning was known as 'Nirgeet' and a song which has a combination of meaningful and meaningless syllables was known as 'Bahirgeet'.

Jati: A group of songs which have similar characteristics and follow certain rules are known as Jati. Graha, Ansh, Nyas, Apanyas, Alpatva, Bahutva, Mandra Tar, Odavatva and Shadavatva are known as Jati Lakshanas. These deside the rules of the Jati.

Characteristics of Jati

* Jatis have a well knit structure. Padakshara, Layaghat and Swara are bound to each other in one to one proportion. This type of composition is also seen in the Dhrupad-Dhamar and Khayals in Jhaptaal, Rupak in the modern period. A jati consists of four parts known as 'Vidari'. Thus the idea of dividing a composition into different parts of musical purpose is seen in Jati.
* Like the Samgayan, a song of Jati is sung with different varities making use of Padageeti. With the help of Padageeti, different patterns if swara, laya and pada can be created. Different types of 'Tihai' are shown in the padgeeti. Thus the style of Jati Gayan resembles the style of Dhrupad gayan in the modern period.

Saptageeta

There were sever types of songs in the Natyashastra-kal known as 'Saptageeta'. These songs had a concrete structure, as 'rhythm' was the most important element of these songs.
Characteristics of Saptgeeta

* A combination of meaningful and meaningless syllables is seen in these songs. The meaningless syllables are associated with the sounds of musical instruments like jhanj, mridanga etc. The vocal forms like Trivat, Chaturang in the modern period also consist of these types of syllables.
* Each of the saptageetas consist of at least 2 taalas. Different parts of the song are set to different talas. Thus the origin of the 'Taalmala' in the modern period is Saptgeeta.
* To sing aalap with Taal within a song is a characteristic of Saptgeeta. The aalapi in the Saptgeeta was at primitive stage. It was later developed separately in other musical forms, which gave rise to 'Rupakalapti' in the prabandhas.
* After singing a song from the saptageetas, another song known as 'Chhandak' is sung to reach the climax. This song is set to either of the Chatchatputa or Chachaputa Taal, which have eight or sixteen and six or twelve matras respectively. This is the origin of the idea of singing Chhota khayal in teentaal or drut Ektaal, after the bada khyayal to reach the climax.

Dhruva

Dhruva was the vocal form in the Natyashastra kaal, which gave importance to the literature and emotions. In the Dhruv swara, pada and laya are closely associated with each other. They are based on the Jati and Marg tall like Chatchatputa, Cachaputa etc.

In the post Natyashastra period, different raagas were created by liberalising the rules of the Jati and different Taals were created known as 'Desh Taal'.

The Dhruva composed in these raagas and Deshi taalas might have been called the "Dhruva Prabandha" in the post natyashastra period.