Relation between Modern vocal forms and Ancient vocal forms

In the last chapter, the process of evolution of the modern forms was discussed. In this chapter, it is discussed how these vocal forms are actually presented and do they still have any relation with the vocal forms described in 'Ratnakar'.

While discussing ancient and modern vocal forms, it is observed that there are a few common basic principles in all these vocal forms. These principles are as follows:

1. With the help of Swar, Laya and Pad, a frame or a structure is established.
2. This structure us divided into different parts or limbs for musical purpose. There are 'Bhakti' in Sam, 'Vidari' in Jati, 'Dhatu' in prabandhas and Sthayi-Antara in Khayal and Dhrupad.
3. Variations in swara, laya and pad are created within the framework. This principle can be seen through - Sam Vikas and Sam Roopantara, Padgeeti in Jati and the 'Bol Anga' in Khayal and Dhrupad.
4. Meaningless syllables are used for musical purpose. In every period, there are vocal forms which make use of meaningless syllables. 'Stobhakshara; were being used in the samgayan. Nirgeet, Bahirgeet ad Saptageeta in Natyashastra period, Prabandhas like karan, kaiwad in Ratnakar period and Tarana, Trivat, Chaturang in modern period are the vocal forms which use meaningless syllables.
5. Two streams always coexist in Hindustani music. One is classical and philosophical in which musical thought has the prime importance and the other is purely for entertainment. These two streams are seen through the Vedic and Loukik, Marg, Desh and Classical and light music.

Now let us consider the actual recitation of modern vocal forms.

Dhrupad

1. Dhrupad begins with Nom-Tom. Ragvistar is done step by step with Tant Anga. In this 'Swasthan Niyam' in Ratnakara is followed with some liberties. To begin a song with Shuskalap is a characteristic of Saptageeta in Ratnakar. Thus the Nom Tom is associated with Ratnakar.

2. Dhrupad consists of two parts viz. Sthayi and Antara. They belong to the Dhatu of Dhruva prabandha in Ratnakar.

3. Dhrupad is sung with variations in swara, laya and pad. It belongs to the tradition of Bhanjani Tatwa, in prabandha, Padageeti in Jati and Sam Roopantara.

Dhamar

Stylistically Dhamar is similar to Dhrupad. It is set to Dhamar tal of fourteen beats. Holi songs are used in Dhamar. Thus Dhamar is originated from the Chachchari Prabandha in Ratnakar, by using the Bhanjani Tatva in it.

Khayal

1. Khayal begins with a short raagalap. The text of khayal consists of Sthayi and Antara. There parts are derived from the Dhatu in Prabandha.
2. In the Khayal, raga is sung elaborately according to the structure of the khayal. When sthayi is sung, those alap are sung which are in harmony with the sthayi and after every alap, Mukhada i.e. part of the Sthayi is repeated.

This is the 'Pratigrahanika Tatva' in Ropak prabandha.
3. Bol Anga used in Khayal is originated from the Bhanjani Tatva. Tans and Gamaka used in khayal are described in Ratnakara.
4. Chhota khayal is sung to reach the climax. It is originated from the saptageetas.

Tarana - Trivat - Chaturang

These forms are usually sung in fast tempo. Tanta anga is used in it. These consist of meaningless syllables originated from sounds from different musical instruments. Thus they show resemblance with Prabandhas like Tribhangi, Chaturmukh, Kaiwad and also the Saptageetas which are descried in the Ratnakar.

Thumri & Tappa

These are semi-classical forms. Thumri is erotic and is sung with elaboaration but the emphasis is given on the expression of the mood. It is set to Deepchandi Taal of fourteen beats or Adha Teentaal of sixteen beats. Holi songs are used in it. Thus Thumri is associated with the Chachchari Prabandha, using Pratigrahanika Tatva in it.

Tappa is a peculiar vocal form. It consists of fast, abrupt patterns of Tana. It shows connection with the vesara geeti in Ratnakar. Thus with the help of Ratnakar, it can be said that the modern classical vocal forms belong to ancient tradition in Hindustani Music. These have their roots in the various ancient vocal forms described in Ratnakar.