Hindustani vocal music is not just one style. Over centuries, several distinct forms evolved, each with its own flavor, history, and technique. Three especially important classical forms are Dhrupad, Dhamar, and Khayal.
Dhrupad – ancient, majestic, nature-inspired
Dhrupad is considered the most ancient surviving form of Hindustani classical music. It is deeply connected with temples, royal courts, and spiritual practice. The word is often broken into “dhruva” (fixed) and “pada” (word/poem).
Traditionally, Dhrupad:
- Is performed with pakhawaj (not tabla) and tanpura.
- Uses long, meditative alaaps, often in very slow tempo, exploring the raag in great depth.
- Emphasizes precision of swar, natural tuning, and powerful yet unornamented vocal tone.
- Uses poetry in Sanskrit or Braj Bhasha, often devotional or philosophical.
Many descriptions say Dhrupad melodies are inspired by sounds of nature: the wind, flowing rivers, the call of birds, temple bells. Even if this is partly poetic, you can feel a very “elemental” quality in good Dhrupad singing – like listening to music carved out of air and time.
Dhamar – festival and rhythm
Dhamar is closely related to Dhrupad but usually lighter in mood. It is often sung in a special 14-beat taal called Dhamar, and many Dhamar compositions are associated with the festival of Holi.
Typical Dhamar lyrics describe playful scenes of Krishna and the gopis, colored powders, teasing, and romance. The style keeps the gravitas of Dhrupad’s technique but allows more playful rhythmic and lyrical expression.
Khayal – imagination, poetry, and Amir Khusrau
Khayal (often spelled “khyal” or “khyal”) is the dominant vocal form of modern Hindustani music. The word itself comes from an Arabic/Persian root meaning “thought”, “imagination”, or “fantasy”.
Historically, the development of Khayal is linked with:
- Amir Khusrau (13th–14th century) – a legendary poet, musician, and Sufi associated with the Delhi Sultanate, often credited (at least in popular imagination) with planting seeds of many Indo–Persian musical forms.
- Later composers like Sadarang and Adarang (18th century), who shaped Khayal into the form we know today under Mughal patronage.
Khayal brought:
- Greater use of Persian/Urdu poetry alongside Hindi/Braj.
- More lyrical flexibility – the text and raag interact in creative ways.
- A highly developed system of vilambit (slow) and drut (fast) bandishes.
- Rich opportunities for improvisation – alaap, bol-baant, sargam, taan.
Compared to Dhrupad, Khayal is often more romantic, more emotionally varied, and more focused on individual imagination. Dhrupad is like a majestic temple sculpture; Khayal is like a detailed miniature painting full of subtle gestures.
Where does poetry fit?
In Khayal, the bandish (composition) is usually a short poem – often 1–2 lines in Hindi, Braj, or Urdu. While the raag’s grammar comes from musical tradition, the emotional content often comes from this poetry: love, separation, devotion, philosophy.
The influence of Sufi thought and Persian/Urdu poetry, associated with figures like Amir Khusrau and later poets, gave Khayal a very rich literary dimension. The word “khayal” itself reminds us that this form invites imagination and inner reflection, not just strict chanting of notes.
Today, a serious student of Hindustani vocal music will usually learn at least the basics of Dhrupad and Dhamar, but will spend most of their performing life in Khayal. Together, these forms show how the same seven notes can be used to build very different musical worlds.