In the past, I have discussed the tappa and tarana forms of the Hindustani music tradition. With regard to our current series on the use of multiple languages in Hindustani compositions, it is important to note that the tappa compositions are in Punjabi, and the taranas often have Persian couplets. Illustrations of both these forms can be accessed at both the links provided above.
The majority of dhrupad, dhamar, khayal and thumri-dadra compositions and seasonal song forms like chaiti, kajri, jhoola, use Braj bhasha, a dialect of Hindi. Some even use other dialects like Awadhi and Bhojpuri. Notably, some even use a blend of Braj bhasha and Punjabi or Urdu. We bring this short series to an end with a few compositions that primarily use Braj bhasha.
The first track has a dhamaar in the raag Yaman sung by eminent maestro Nasir Aminuddin Dagar. It is set to the 14-matra Dhamaar taal. Vocal support is provided by Zia Fariduddin Dagar and pakhawaj accompaniment is by Raja Chhatrapati Singh.
Renowned Kirana gharana exponent Bhimsen Joshi sings a vilambit or slow khayal in the raag Multani set to the 12-matra Ektaal. He follows it with a drut or fast composition in Teentaal.
Many song-texts have varied interpretations, and this is the case with the next composition too. In fact, in this instance, the composition is sung either as a bandish ki thumri or as a khayal. Bade Ghulam Ali Khan, the Patiala gharana maestro presents it as a thumri.
The final track is a famous thumri composed by Nawab Wajid Ali Shah, the last ruler of Awadh. Predominantly in Awadhi, this thumri is sung by the celebrated vocalist Begum Akhtar. It is set to the 14-matra Deepchandi.
One of India’s leading tabla players, Aneesh Pradhan is a widely recognised performer, teacher, composer and scholar of Hindustani music. Visit his website here.
