The origin of 'Tappa' is considered by which 'Giti'?

Question

Accepted Answer

The correct option is 4:
The origin of 'Tappa' is historically linked to **Vesra** Giti due to a distinct similarity in the fundamental nature of their melodic movement. The ancient musicologists categorized *Vesra Giti* as a style characterized by a moderate or fast tempo (*laya*), a delicate or 'mixed' quality, and the quick, varied employment of notes. *Tappa*, a semi-classical form that originated in Punjab, is defined by its characteristic staccato, rapid, and undulating melodic figures known as *taans*. This fast, intricate, and light style of vocalisation in *Tappa* is conceptually and aesthetically closest to the agile and swift movements that define the nature of *Vesra Giti*.

The incorrect option is 1:
**Shuddha** Giti, which translates to 'pure' or 'simple' style, is characterized by a dignified, slow tempo (*vilambit laya*), and a straight, clear melodic flow. The movements in *Shuddha Giti* are simple and devoid of heavy or elaborate ornamentation, focusing on the clarity of the fundamental notes. This dignified and unembellished approach is stylistically the exact opposite of the complex, fast-paced, and heavily ornamented *taans* that are the essence of the *Tappa* form. Therefore, there is no conceptual link between the two styles.

The incorrect option is 2:
**Bhinna** Giti represents a deep, profound, and often intricate style of musical exposition, typically rendered in a moderate tempo. This *Giti* is known for its wide-ranging melodic glides (*meends*) and the presentation of complex melodic figures to evoke a serious and heavy emotional mood (*Rasa*). The focus is on depth and structure over speed or lightness. *Tappa*'s short, quick *taans* and overall lighter character are musically incompatible with the grave and complex nature of *Bhinna Giti*.

The incorrect option is 3:
**Goudi** Giti is characterized by a moderate-slow tempo and is distinguished by the pronounced use of heavy *Gamaks* (oscillating or shaking of notes). While it is more ornamented than *Shuddha Giti*, its emphasis lies in forceful and sometimes slow oscillations of the notes, giving it a somewhat forceful character. This reliance on the specific, heavy *Gamak* is quite different from the short, sharp, and rapid *taan* patterns that define the vocal dexterity required in the performance of *Tappa*.