In Maanch the dialogues are set to dissimilar tunes called Rangat Dohas. It is the musical sense that permeates the entire structure.
The couplets are sung in three styles namely, Ikhari Rangat, Dokadi
Rangat and Langdi Rangat. The intact melody of Jhela is introduced in between the Dohas, whenever the singing pattern needs a change. Each couplet or single unit of dialogue ends with a fixed refrain sung in chorus.The scale of tal is strictly followed in dholak while the sarangi follows the singer in normal course.
There are about two dozen tunes often utilised in Maanch. Rangat
Ikhari, Rangat Dokadi, Kaligara Rangat,
Jhela, Chhoti Rangat, Sindhu Badhawa,
Udayya etc. are some of the known varieties. Haloor ends with a phrase called
Gazal is also used. It is a separate metre sung in a quick tempoIn
Maanch, the opening block of lines is called Ger, i.e. the beginning and the lines that follow are known as
Udapa. Daur is the word for quick singing.
The words are heard only in between the dialogues concluding with the leading lines. Folk tunes are
utilised at proper situations in the play. A definite tune of Maanch cuts across the whole play. It has its own identity. A kind of gusto and abundance is attached to it.