Dhrupad
A vocal tradition combining expansive melodic development and rhythmic composition.
Structure
- A long, unmetered alap developed with the syllables of nom-tom (wordless syllables such as te-re-na-na), progressing slowly from low to high register.
- A composition (the dhrupad) traditionally in four sections: sthayi, antara, sanchari, abhog (many performances present sthayi + antara).
- Set to pakhawaj talas — commonly Chautal, also Dhamar, Sultal — with pakhawaj accompaniment.
Performance & style
Development is via measured melodic elaboration and rhythmic play (layakari, bol-bant) rather than fast taans. Stylistic lineages are called banis (e.g. the Dagar tradition is widely associated with dhrupad today).
History
Dhrupad rose to prominence in North Indian courts and temples in the medieval period.
Relationship to raga, tala, tempo
Raga supplies the melodic grammar; a pakhawaj tala (Chautal/Dhamar) the cycle; the alap is unmetered, the composition metered — tempo terms describe speed, not form.