Overview

A performance of North Indian Classical Music becomes particularly mystical because of the element of improvisation.

This second part of the course, which we call Appreciation, helps you understand exactly what happens in a performance.

The course begins with how the basic concepts of the Raga and Tala are fused together to form the composition, which is then used as a tool to improvise and expand. We go on to look at the forms used for Vocal and Instrumental performance, viz. the Khayal and the Alaap-Jod-Jhala.

With the help of actual performances by professional artists, we then understand the process of improvisation, and how a performance is built.

Syllabus

Khayal And Development

Going through an actual performance is perhaps the best way to understand how the development progresses, and the various musical material. We do exactly the same here, using a specially presented performance. - Part 1 focuses on the Alaap, both the short introductory one before the Bandish begins, and the one during the beginning of the Vilambit Khayal. - In part 2, we understand the Upaj and Badhat, the basic principles of development and progression. - We continue in the third part towards the Antara, and look at Behlava and Bols as the musical material. - The fourth part deals with the final musical material, the Taan. - Part 5 of the performance is the Madhya / Druta laya Bandish. The practice lessons in this session let us sing/ play along the alaap and taans in a Bandish of Raga Jog.

Bandish - The Composition

The composition formed together by the Raga and Tala, is called the Bandish. This Bandish serves as the platform for improvisation and development of the Raga during a performance. - We begin with the very basic question: Why do we need the Bandish at all? - We go on to look at the components of the Bandish and how it is constructed. - We then understand the meaning of development, and how the Awartan or the cycle of the Tala becomes the unit of development. - And finally, we take a look at the various musical material that an artist creates, for expanding and developing the Raga around the Bandish. The practice lessons in this session let us sing/ play along the Sthayee and Antara, and some basic alaaps in a Bandish.

Alaap, Jod, Jhaala And Gat

To understand the other form, we use a specially performed Sitar presentation. - Part one of the performance explains the Alaap part. - We move on to the Jod in Part 2. - Part 3 covers the Jhala element of the performance. - Part 4 focuses on the Vilambit Gat. - Part 5 concludes with the Druta Gat. The practice lessons in this session let us sing/ play along the alaap and taans in a Bandish of Raga Malkauns.

Forms - Vocal And Instrumental Performance

The form used by music defines the structure of a performance. North Indian Classical Music uses different forms for the purpose of presentation. - We begin the session with an overview of the evolution of these forms. - We broadly understand the most prevalent form for Vocal presentation, the Khayal. - We get within the structure of the Khayal, and understand the progression of the development. - We then take a closer look at the musical instruments used for performance, with particular attention to their musical capabilities. - Alaap -Jod- Jhala – Gat is the other form used by many instruments. We delve deeper into understanding the difference between the Bandish and the Gat. The practice lessons in this session let us sing/ play along the alaap and taans in a Bandish of Raga Bhoop.

Taught by

Susmitha Rajan, Nitin Amin and Gandhaar Amin

Reviews

Start your review of Exploring North Indian Classical Music: Part 2 Appreciation

Taught by

North Indian Classical Music III: Performance Practice

Exploring North Indian Classical Music: Part 1 Acquaintance

North Indian Classical Music II: Raga Composition and Development

North Indian Classical Music

North Indian Classical Music I: Fundamental Elements

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