Krsna Kirtana Songs est. 2001 www.kksongs.org
Vocal Forms
There
is a variety of Indian vocal styles with great diversity in classical music.
This page will familiarize you with some of the vocal forms in Hindustani
classical music.
Bhajan
Bhajans
are devotional songs sung in glorification of the Lord, His devotees, His
philosophy, His opulences, and His associates.
Classically, there is no limitation on bhajans, as
they can be sung in any raga, any degree of technicality, and with any
instrument. If you are interested in reading some bhajan
texts, please visit the lyrics page where a library of devotional songs is found.
Listen
to the Bhajans of KKSongs!
Song: Isvara Parama Krsna (2007)
Song:
Gauranga Bolite Habe (2007)
Song:
Jaya Jaya Harinama (2007)
Song:
Kadacit Kalindi Tata (2007)
Song:
Pasana Dhatu Mrd Daru (2007)
Song:
Krsna Tava Punya Habe Bhai (2007)
Song: Srimac Caitanya Deva Tvam
(1st part) (2006)
Song: Jaya Radha Vallabha Jaya Radha
Vinoda (2006)
Song:
Jaya Jaya Jagannatha Sacira Nandana (2006)
Song:
Vrndavana Ramya Sthana (2005)
Song:
Sri Krsna Virohe Radhikar Dasa (2005)
Song:
Nava Gaura Varama (2005)
Song: Govinda Kesava Janardana Vasudeva (2005)
Song:
Sri Hari Vasare Hari Kirtana Vidhana
(2005)
Song:
Ohe Vaisnava Thakura Doyara Sagara (2005)
Song:
Krsna Deva Bhavantam Vande (2005)
Song: Yasomati Nandana Brajabara Nagara (2000)
Song:
Jaya Radha Madhava (2000)
Song: Sri Krsna Caitanya Prabhu Doya Koro
More (2000)
Song:
Boro Sukher Khabor Gai (2000)
Song:
Natha Hari Jagannatha Hari (2000)
Kirtan
Kirtans
are is a chanting of the Lords holy name, or His devotees, opulences,
and associates. They either can be sung in a chorus with a lead singer, or sung
alone. Most common kirtans will have the mahamantra chanted. The mahamantra
is hare krsna
hare krsna krsna krsna hare hare/hare rama
hare rama rama rama hare hare.
Like
bhajans, there are no limitations on how technical,
or on which raga is it sung in. In
Listen
to Kirtans on KKSongs!
Song:
Gauranga Bolite Habe (2007)
Song:
Raga Bhupali Kirtan (2007)
Song:
Raga Madhyamad Saranga
(2007)
Song:
Raga Asavari Kirtan (2007)
Song:
Raga Bhairavi Kirtana
(2007)
Song: Srimac Caitanya Deva Tvam
(2nd part) (2006)
Song:
Raga Adana Kirtan (2005)
Song:
Raga Shivaranjani Kirtan
(2004)
Song:
Om Namo Bhagavate
Vasudevaya (2003)
Song:
Raga Bhatiyara Kirtan
(2003)
Song:
Raga Marwa Kirtan (2002)
Song:
Raga Darbari Kirtan in Kheyal Style (2001)
Song:
Raga Asavari Dhun (2000)
Thumri
Thumris
are semi-classical based songs which are very romantic in nature. The texts are
usually short and simple with a refrain known as the asthayi and the verse known as
the antara.
Ragas like Des, Tilak-Kamod, Khamaja,
Bilawal, Yaman, Pilu, Kafi, and Bhairavi are often used. There are a lot of thumris which describe Krsnas
activities like Ab na
bajawo more syam, jao vahin tum syam, and kaisi yeh bhalaye re kanhai which are
all in Braja-bhasa language. The tala
usually starts off with slow ektal or slow jhumra tala. At
the end or the high point of the song, the speed increases and the tala changes to a fast tintal or kaherva tala. This is not
possible in classical music; it is possible here, however.
Kheyal
Kheyal
is the most common piece when people describe vocal forms. The description of
the kheyal includes two sections: a slow or vilambit section
and a fast or drut
section. Vilambit section is sung in a slow version
of ektal or occasionally slow tintal
or slow jhumra tala. The
slow section brings out more subtle facts of the raga. The drut
section is sung in either ektal or tintal. It will usually be a different text for the drut, as the same text is hardly ever used in two sections.
Kheyal, unlike thumris, bhajans, or kirtans, have many
technical aspects that cannot be broken. If rules are followed, then
improvisation is possible.
Listen
to Kheyal on this site:
Vocal: Kheyal in Raga Hemanta (2004)
Song:
Raga Darbari Kirtan in Kheyal Style (2001)
Dhrupad
Dhrupads
is a very ancient style of singing which its origin come from the Sama Veda texts. It is usually accompanied by tanpura and pakhawaj. The singing
style is very rigid, beyond that of the kheyal. It
must not change talas at all. The texts of the
dhrupad are usually devotional based. As this singing style is extremely
difficult to master, it is rarely heard today.
Dhamar
A
special version of dhrupad sung in fourteen matra dhamar tala. These are actually Holi songs of Lord Krsna. Like the dhrupad, this style is
rarely heard.
Ghazal
Ghazal
is actually a semi-classical form based on Urdu romantic poetry. There have
actually been some styles which are ghazals which are
devotional. It follows most of the rules of thumri,
except that it does not have a slow section, and the adherence to the raga is
not so rigid.
Qawali
Qawali
is the Islamic devotional song. It can either be a text or a kirtan setting. The style of kirtan
and qawali is not much different. The dholak, tabla, and harmonium are
the main instruments.
Baul
This
is based on a wandering Bengali sect of singers. While their lyrics may vary,
their instruments are usually a baya, khomok (a string attached to skin to produce otherworldly
sounds), gopiyantra (one stringed drone), harmonium, khol, tabla, kartal,
and dotara (four stringed lute).
Bhaktivinoda Thakura has
written thirteen songs in Baul style to preach Krsna
Consciousness in the book Baul Sangit.