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Mahiya,
Dhola and Boli are the popular folk tunes prevalent in the Punjab. Today Mahiya
is sung all over the Punjab. A triplet of Mahiya is called Tappa
because it throbs with the heart-beat of the singers. Mahiya comprising triplets
has its own special structure. The first line contains a pen-picture, a
description or an illustration but sometimes it has no special meaning or
relevance. The real substance is contained in the second and third lines. These
two lines are very expressive and overflow with the most deeply felt longings of
the people. They are very effective because they are deeply-felt emotions put
into words. Every Tappa is an entity in itself.
Dhola is highly lyrical and sentimental in character and its chief contents
are love and beauty. Dhola has a variety of forms.
The Pothohari Dhola is rather condensed in form. Each stanza consists of five
lines which can be further sub-divided into two parts of three and two lines.
The first two lines of the first part rhyme with each other while the third one
is left loose. The second part which is a couplet, intensifies and polishes up
the meaning of the first three lines. This couplet is a sustained part of the
first three lines. This couplet is liberally used independently by the singers
of Dhola.
Dhola prevalent in Sandalbar has no fixed form, and its tune is different
from that popular in Pothohar. The rhythm is different and it keeps changing
according to the variety of emotions portrayed. Singers themselves are the folk
poets of these songs.
Boli is the most popular form of folk music of the eastern Punjab. It is the
most miniature form of folk-song. Boli is very deep, effective and
interesting in its impact. It expresses a variety of emotions. A Boli may vary
from one line to four, five or even more lines. The two famous folk-dances of
the Punjab, Bhangra and Giddha are danced to the accompaniment of this
form of folk-song.
Loris or lullabies are sung in different tunes but the tempo is invariably
slow. Every tune tends to create a droning, dreamy atmosphere which leads the
child into the alleys of sleep. Its rhyme scheme is crisp and brief and takes
the form of an address. At the end of each rhyming arrangement, plain and simple
syllabic sounds are hummed.
In the Punjab there are set tunes for typical
dirges. Alahni and Vain belong to this category. The content is a sad and
philosophic commentary on the transience of life. Mourning songs are generally sung as slow, dragging chants, punctuated by shrill and wailing cries.
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