Dhrupad

Dhrupad, India’s ancient pravandh sangeet (composed lyrical song) holds a rich historical significance. The term “Dhruva” meaning “unchangeable” and “pada” referring to “literary composition” depict the essence of this musical form. In earlier times, compositions dedicated to praising and describing the attributes of God were known as Dhruvapada. References to dhruva pravandha can be found in the works of Matanga, Parshadev, and Saranga Deva. During the Pathan rule, Nayak Gopal composed chhand pravandh geet, while Baiju Bawra contributed to its popularization through his mesmerizing performances.

In the 15th century, Raja Man Singh Tomar of Gwalior, with the support of his scholarly wife Mrignayani, played a pivotal role in reviving and nurturing Dhrupad. They introduced the local language of Gwalior in the lyrics, added locally composed ragas, expanded the thematic range beyond devotion to encompass emotions like love and heroism, and aligned the lyrical compositions with the essence of the ragas. Subsequent changes included the replacement of “dhatu” with “tuk” and the shift from Gwalior language to the Brij language of Vrindavan. Additionally, the rhythmic cycle of chautal found its way into Dhrupad for the first time.

Miyan Tansen, the renowned court musician of Emperor Akbar, is credited with shaping the present-day Dhrupad. Typical Dhrupad compositions consist of four tuks: asthayee, antara, sanchari, and abhog, although two-tuk compositions (asthayee and antara) are also common. The lyrics predominantly focus on devotion, spirituality, and religious themes. Dhrupads are performed in talas such as chautal, jhaptaal, surfaktal, brahmatal, accompanied by the pakhawaj as the percussion instrument. The rendition of aalap and jor before a Dhrupad composition is a customary practice, with the aalap leading into jor and concluding with the energetic movements of meend (gliding between notes) and gamak (graceful oscillations). Multiple laya  treatments, including bol-bant, bol-taan, and tihai, are employed to enhance the composition.

The enchanting Dhrupad bandish, steeped in rich musical tradition, unfolds its captivating melody through a symphony of four exquisite segments, each with its unique allure and significance. Embarking upon this melodic journey, we encounter the Abhog, Asthayee, Antara, and Sanchari, like gleaming gemstones adorning a royal crown.

First, the Abhog emerges, its resplendent notes gently beckoning us into the realm of musical splendor. Like a luminous sunrise casting a golden hue upon the horizon, the Abhog sets the tone, introducing the melodic contours and establishing the framework of the composition. It unfurls with grace, its rhythmic patterns intertwining with soul-stirring improvisations, a testament to the virtuosity of the musicians.

Next, we find ourselves enveloped in the enchanting embrace of the Asthayee, a segment of profound depth and emotional resonance. Like a cascading waterfall, its melody descends upon us, evoking an array of sentiments that stir the depths of our souls. Here, the musicians’ mastery manifests itself as they navigate through intricate melodic phrases, cascading seamlessly from one note to another, leaving us spellbound by their artistry.

As the composition progresses, the Antara emerges, akin to a blooming lotus, revealing its radiant petals one by one. With its distinct melodic motifs, the Antara serves as a bridge between the Asthayee and the Sanchari, infusing the composition with a renewed sense of vigor. It introduces fresh melodic variations, captivating us with its unexpected twists and turns, reminiscent of a riveting tale that unfolds before our very ears.

Finally, we reach the crescendo of the bandish, where the Sanchari unfurls its wings and soars across the melodic landscape, like a majestic eagle soaring high above the clouds. Here, the musicians venture into uncharted territories, delving into spontaneous melodic explorations that heighten the emotional intensity of the composition. The Sanchari embodies freedom and improvisation, as the musicians navigate through intricate rhythmic patterns and breathtaking melodic ornamentations, leaving us awe-inspired by their artistic prowess.

Thus, the Dhrupad bandish, with its Abhog, Asthayee, Antara, and Sanchari, becomes an immersive experience, transcending the boundaries of mere music. It is a testament to the rich tapestry of Indian classical music, where every segment unfolds like a chapter in a melodious saga, weaving together the threads of tradition, emotion, and artistic brilliance.

Within the Dhrupad genre, four distinct styles, known as vanis, have emerged. The term “vani” refers to the sayings of saints expressed through music and represents different stylistic patterns in Dhrupad singing. These vanis are named after the places where the four prominent court musicians of Emperor Akbar resided, adding further diversity and richness to the Dhrupad tradition.

Shudh Vani, also known as Gaudhara or Gobarhar Vani, derives its name from Tansen’s hometown, Gwalior, and is revered as the prime vani. This style emphasizes clear enunciation, steady and unhurried movements, devoid of unnecessary embellishments. Only meend (glides) and aash (long sustained notes) are employed as alamkaras (ornaments). Shudh Vani embodies a sense of tranquility and devotion, reminiscent of the ancient “shuddha (pure)” style of singing.

Dagar Vani pays homage to the native village of Brijchand, also known as Dagar or Dagur. This style is characterized by its simplicity and ease in singing. Dagar Vani incorporates more technical ornamentations, including meend, aash, and zamzama (fast gamak). It adds a touch of intricacy beyond the Gaudhara Vani.

Nauhar Vani derives its name from the birthplace of Rajput Srichand, Nauhar. This style focuses on alternating swar (notes) and expansive note movements. Nauhar Vani embraces a wide range of technical ornamentations and showcases remarkable speed and dexterity, often likened to the movements of a lion (“Nahar” in Hindi). This style draws parallels to the ancient “bhinna” style of singing.

Khandar Vani takes its name from Tansen’s Rajput son-in-law, Mistry Singh, who hailed from Khandahar. Mistry Singh, a skilled beenkar (veena player), later assumed the name Bade Naubad Khan. Khandar Vani is distinctive for its leisurely pace, encompassing a greater variety of compositions compared to Gaudhara Vani. The notes are treated discretely, with an emphasis on gamak (graceful oscillations), employed across medium to fast tempos spanning three octaves. This style finds its roots in the ancient “besra” style of singing.

Each of these vanis represents a unique artistic expression within the realm of Dhrupad, showcasing distinct characteristics in terms of tempo, ornamentation, and overall musical aesthetics. They contribute to the rich tapestry of Indian classical music, reflecting the diverse traditions and regional influences that have shaped its evolution over time.