Classical Music of India

The Classical Music of India has its origins in the chanting of the Vedas dating back to several thousands of years ago. Since then, it has been bequeathed by oral tradition through the generations to its present form. In the course of time, it evolved into two distinct systems, namely, the Karnatic (in the South) and the Hindusthani (in the North).

Indian classical music is based on melody. It can be described as contemplative and introspective. There is no intentional harmonic structure beneath the melodic lines. Such freedom permits almost unlimited melodic possibilities. Another attribute of Indian music is improvisation. Most of the classical music performed is extemporaneous. Even while playing the compositions, the performer attempts variations and embellishments that bring out a unique interpretation of the composition and the artist's individuality. This makes the ensuing music spontaneous, never ceasing to amaze the listener.

It is interesting to note that the seven notes in Indian music, Sa, Ri, Ga, Ma, Pa, Dha, Ni, correspond to Do, Re, Mi, Fa, So, La, Ti, in the West. What makes Indian classical music unique is its two important characteristics: the raga and the tala. Every piece played adheres to the confines of raga and tala. A raga defines the melodic aspects of the music. The raga is a melodic pattern defined by an ascending and a descending scale, and key notes and phrases that bring out the entire character of the raga. Numerous ragas span an entire spectrum of emotions, colors, and characters. In fact, a raga has been personified as a divine being with character and moods just like a mortal. The performer, while elaborating a raga builds up the mood(s) portrayed by the raga.

Traditionally, most performances of Hindustani music begin with alap–an extensive solo exploration of the raga by the instrumentalist. Alap is divided into three basic parts. The first section of alap begins slowly, with an invocational and meditative approach. Within this streamlike, arrhythmic style, the artist gradually unfolds the shape, textures, and moods of the raga. Eventually, a pulse is introduced by the soloist, and the second section known as jor has begun. In jor, there is still no specific rhythmic framework to speak of. Moving through many variations within the jor, the musician will finally arrive at the jhalla, the culminating section of the alap. Jhalla, characterized by a faster paced and rhythmically dense exposition of the raga, is carried through to the end of the alap.

After the alap, the instrumentalist is joined by the accompanying drummer, and together they enter the section of the raga known as the gat. Here we are introduced to the rhythmic basis of Indian music: the tala. A tala is a cycle of a fixed number of beats repeated over and over again, and played as distinct patterns of strokes on the accompanying drums. There are many different talas (6 beats, 7, 10, 12, 14, etc.), and each one has a different rhythmic mood. Except for alap, every piece of Indian classical music is played within a particular tala.

The gat begins with the instrumentalist playing a rhythmic/melodic theme within the raga. Through this theme, the soloist thus establishes the tala within which the raga will now progress. Often, the tala will not be announced prior to the performance, and is chosen on the spot by the instrumentalist. Even the accompanying drummer may not know what the rhythmic cycle will be and must infer from the first hearing of the theme what patterns to play on the drums.

The gat proceeds with the drummer supporting the soloist while variations are made and the raga is further explored. The two musicians interact rhythmically throughout the performance, always meeting on the first beat of the rhythmic cycle. This dynamic interchange becomes more prevalent as the raga progresses.

Staying within the same raga, a new theme in a new tala may eventually be introduced by the soloist. This is most often a faster-paced rhythmic cycle that adds excitement to the building energy of the music. The musicians then carry the raga to its final improvised ending.

This long exposition of the raga is often followed by a performance of light-classical raga or folk melody. These pieces are usually much shorter than the opening raga, and are set in certain talas to give the music a light and lilting feel.