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Khyal
Khyal (or Khayal, Urdu: خیال, Hindi: ख़्याल, ) is the modern genre of classical singing in North India. Its name comes from an Arabic word meaning "imagination". It appeared more recently than dhrupad, is a more free and flexible form, and it provides greater scope for improvisation. Like all Indian classical music, khyal is modal, with a single melodic line and no harmonic parts. The modes are called raga, and each raga is a complicated framework of melodic rules.
== Characteristics ==
Khyal bases itself on a repertoire of short songs (two to eight lines); a khyal song is called a ''bandish''. Every singer generally renders the same ''bandish'' differently, with only the text and the raga remaining the same. Khyal bandishes are typically composed in a variant of Urdu/Hindi, and sometimes in Marathi or Punjabi, and these compositions cover diverse topics, such as romantic or divine love, praise of kings or gods, the seasons, dawn and dusk, and the pranks of Krishna, and they can have symbolism and imagery. The ''bandish'' is divided into two parts — the ''sthayi'' (or ''asthayi'') and the ''antara'', with the former considered more important as it shows the melodic contours of the raga. The ''sthayi'' often uses notes from the lower octave and the lower half of the middle octave, while the ''antara'' ascends to the tonic of the upper octave and beyond before descending and linking back to the ''sthayi''.〔 The singer uses the composition as raw material for improvisation, accompanied by a harmonium or bowed string instrument such as the sarangi or violin playing off the singer's melody line, a set of two hand drums (the tabla), and a drone in the background. The role of the accompanist playing the melody-producing instrument is to provide continuity when the singer pauses for breath, using small variations of the singer's phrases or parts thereof. While there is a wide variety of rhythmic patterns that could be used by the percussionist, khyal performances typically use Ektaal, Jhoomra, Jhaptaal, Tilwada, Tintal, Rupak, and Adachautaal.
A typical khyal performance uses two songs — the ''bada khyal'' or great khyal, in slow tempo (''vilambit laya''), comprises most of the performance, while the ''chhota khyal'' (small khyal), in fast tempo (''drut laya''), is used as a finale and is usually in the same raga but a different taal.〔 The songs are sometimes preceded by improvised ''alap'' to sketch the basic raga structure without drum accompaniment; alap is given much less room in khyal than in dhrupad.
As the songs are short, and performances long (half an hour or more), the lyrics lose some of their importance. Improvisation is added to the songs in a number of ways: for example improvising new melodies to the words, using the syllables of the songs to improvise material (''bol-baant'', ''bol-taans''), singing the names of the scale degrees — sa, re, ga, ma, pa, dha and ni (''sargam'') — or simply interspersing phrases sung on vowels, usually the vowel A, ''akaar taans''. Taans are one of the major distinguishing features of the khyal.〔 Now and then, the singer returns to the song, especially its first line, as a point of reference. Besides the vilambit (slow) and drut (fast) tempos, a performance may include ati-vilambit (ultra-slow), madhya (medium speed) and ati-drut (super-fast) tempos. Song forms such as ''taranas'', ''thumris'' or ''tappas'' are sometimes used to round off a khyal performance.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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