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The Vocal Section Includes :
SwarMallika :- Swarmalika is a style of singing where the vocalist sings the sargam of the song. The note-for-note relationship between the lyrics and the melody is very powerful in delineating the swar.It is generally known as SARGAM that is the garland of musical system. It is useful for the beginners.
Lakshan Geet :- Lakshan Geet is probably the most typical fixed composition used for vocal instruction. This is a style of singing where the lyrics of the song actually describe the features of the rag. If the lakshangit is memorized, one will never forget the rag. Throughout ones life, whenever the rag is heard the words keep coming back.It is the original compositions of the late Pt. Vishnu Narayan Bhatkhande.They can be easily remembered by students without any difficulty. They are available in almost all the current Ragas of Hindustani Sangeet Paditi or Hindustani Music System.
Dhrupad :-Dhrupad is perhaps the oldest style of classical singing in north Indian music today. The heyday of this style was in the time of Tansen. It is a very heavy, masculine style performed to the accompaniment of the pakhawaj (an ancient mridang). It is known for its austere quality and strict adherence to the tal. The moods of dhrupad may vary, but themes revolving around the victories of great kings and mythological stories are common. Devotional themes are also very common. It is to be sung with fixed and very slow tempo. These singers are considered to be the masters in the science of proper production of voice, notation and modulation of musical sound and proper development of Ragas in its accuracy.The dhrupad usually adheres to a four-part structure of sthai, antara, abhog, and sanchari. Dhrupad is also an instrumental form. However as an instrumental form, it is a mere imitation of the vocal dhrupad.
Kheyal :- It is an Urdu word and literally mean ‘whim’ a stray thought of the voluntary fight of imagination of the musician. It was introduced by the Mohammedans (Muslim) musicians of different times and places. This term is indicative of its highly improvisational nature. It is generally an abstract and complete presentation of the rag; It is probably the most improvised of the Indian styles.There are two major movements of kheyal. There is an extremely slow section which is called vilambit, or bada kheyal: and a fast section called drut or chotta kheyal. The vilambit section is extremely slow and usually played in ektal of 12 beats. Occasionally, other tals such as jhumra of 14 beats are heard but this is most rare. The fast section is usually played in drut tintal or drut ektal.
Dhammar or Hori :- Dhammar is a very old style of singing. The name is also applied to instrumental renditions of the same. It has many similarities to dhrupad. The major difference is that it is slightly more romantic. Themes of dhammar typically revolve around Krishna and the Holi festival. In fact the dhammar is often called "hori" (holi). It is typically performed in dhammar tal of 14 beats. Dhammar, like its cousin the dhrupad, is rarely heard today.The method of singing dhammar or Hori is not fascinating but most difficult. There is ample scope for the development of the various forms of tempo in dhammar. The specialists of these types of songs are generally the experts in the art of calculating and measuring the time in music that is Rhythm.
Thumri :- Thumri is a common style of light classical music. The text is romantic and devotional in nature, and usually revolves around a girl's love for Krishna. The language is a dialect of Hindi called Brij bhasha. This style is characterized by a greater flexibility with the rag. The compositions are usually set to kaherava of 8 beats, addha tal of 16 beats, or dipchandi of 14 beats. It arose in popularity during the 19th century.It expresses the nausce and ever-changing perception of beauty with slight delicacy and giving it the finest touches that are totally beyond the spheres of Khayal.If Dhrupada is solid, Khayal is fluid than Thumri is gaseous. It has its own form.
Tappa :- It is correlative of Thumri though it is free from the rules and other bindings of classical music still it is not at all easy and practicable for all.It is a light classical style which is declining in popularity. It is basically a classical style of music from the Punjab.
Tarana :- Tarana is based upon the use of meaningless syllables in a very fast rendition.Songs of this kind are absolutely different from others. Words are not used in it. Some technical terms and meaning less words of alaap singing is the main aspect of Tarana.Tarana is found all over India. In south Indian music it is called tillana or thillana and is commonly used in dance performances.
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