SOUVIK CHAKRABORTY
Remembering The Art of Tappa
Singing
Our Indian classical music is a treasure trove of very diverse techniques of singing and presentations , be it in form or content . ‘ Tappa ’ is one such highly unique form of semi-classical singing and a musical form that deserves its due limelight at a time of auto-tunes or AI-generated beats and samples .
Tappa singers make it a rule to control their breathing and notes in such a way that there are continuous streaks of singing without having to halt abruptly anywhere in the song . This is mostly done to uphold the poetic integrity of the lyrics set in the fastpaced Laya . Unlike a traditional khayal or thumri , tappa is usually held with shorter lyrics coupled with vigorous taans and special improvisations with respect to the Gharana it belongs to . Ragas like Jhinjhoti , Kafee , Bhairavee , or Khamaaj are used with the tappa style of singing .
Tappa speaks of love and romanticizes various aspects of it . Much like the literal interpretation of the word , this kind of singing pulses with its bouncy or vibrant musical notes in it . Ektala and Tintala are the kind of tempo The loops and the bi-directional phrases are significant in the appreciation of this style of singing . Tappa is believed to have originated from the words of the folk songs sung by the camel drivers in the Punjab and Sindh area . Hence , it has a very strong influence on the northwest linguistic style in its lyrics . The words of these songs are known for the brevity of expression through their short lines and stanzas . The songs occasionally have a separate section between the sthayi and antara of the piece .
It is believed that Tappa was derived from the folk music of the provinces of Punjab and Sindh . Originating from the folk song of camel-drivers in that region , these songs got later developed by a court singer Mian Gulam Nabi Shori or Shori Mian for the Awadhi Nawab . In the later centuries , tappa had been popularized by highly skilled singers and stalwarts like Girija Devi , Bade Ramdasji Krishanrao Pandit , Pandit Kumar Gandharva , and many more . It is notable how musicians like Malini Rajurkar have made the tappa singing so memorable through their breathtaking concerts .
Tappa is further ornamented with its multiple iterations across various regions in the country be that through the Gwalior Gharana or the Maharashtrian musical theatricals . Interestingly , a new form of the ‘ Tapkhayal ’ had also emerged from the amalgamation of various artists from varied niches in classical singing .
The challenges and the very essence of tappa singing meant that it was a very challenging space and needed to be well protected , tappa had seen a lot of transformations and the attempts to uphold its integrity in itself is a deep study in musical histories . Right from the twentieth century ’ s end , there was a steady decline in the Gwalior Gharana which had held the tappa style too close to let it grow and nurture . It is said that later the other Gharanas through bhajans or other forms of singing had overshadowed tappa completely .
It is only fair that the newer generations of musicians or appreciative art forms should give such classic forms their long dues and probably preserve them to glory forever .
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