Chaturang Composition

 

1. Model Structure of a Chaturang Composition

A Chaturang is sung within one raga and one tala, but it cycles through four expressive “colors”:

1. Sahitya (Bandish / Khayal-style bol)

2. Sargam (Solfa)

3. Tarana (Abstract syllables)

4. Bol / Pakhawaj–Tabla syllables

These may appear sequentially or interwoven, but all four must be present.

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2. Illustrative Example (Hypothetical but Authentic)

Raga: Yaman

Tala: Teentaal

(1) Sahitya (Lyrics)

A traditional khayal-style opening:

“Eri ali piya bin
kaise beete raina”

– Sung with proper Yaman phrases emphasizing Ni–Re–Ga–Ma#

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(2) Sargam Passage

The same raga is then elaborated using note names:

Ni Re Ga Ma |
Ga Ma Dha Ni |
Sa′ Ni Dha Ma |
Ga Re Sa

This section shows melodic clarity and raga grammar.

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(3) Tarana Section

Fast, rhythmic, abstract syllables:

“Tanom dirana
dere na tom
yalali yalali
dir dir na”

Here, laya (tempo) and rhythmic energy take prominence.

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(4) Tabla / Pakhawaj Bols (Padhant)

Recited vocally, aligned with Teentaal:

“Dha dha tirakita
dha ge na tin
ta kita dha ge
dhin na”

This demonstrates tala mastery and rhythmic articulation.

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➡️ When all four are sung within one coherent composition, it qualifies as Chaturang.

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3. Historical & Stylistic Context (Important)

• Chaturang predates modern khayal and is linked to older dhrupad–khayal transitional practices.

• It is sometimes associated with Amir Khusrau, though firm attribution is debated.

• Chaturang influenced later composite forms like:

  • Tarana

  • Sargam taans

  • Bol-taans

Today, Chaturang is:

• Rarely performed as a full form

• More commonly taught as a conceptual or compositional exercise

• Occasionally revived in lecture-demonstrations

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4. One-Line Summary

A Chaturang is a rare, composite vocal composition in a single raga that unites poetry, melody, rhythm, and abstraction—showcasing a singer’s command over sahitya, swara, laya, and bol in one unified piece.