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INDIAN MUSIC NEWSLETTER a Quarterly Information Paper for Lovers of Indian Music in the West

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INDIAN MUSIC NEWSLETTER a Quarterly Information Paper for Lovers of Indian Music in the West Issue no. 12 July-August-September 1984 INDIAN MUSIC NEWSLETTER A quarterly information paper for lovers of Indian music in the West. BASICS OF INDIAN MUSIC V treatment of notes in each raga. beat is introduced, but no rhythmic struc­ Instrumentalists usually loosely follow ture or accompaniment is present. the structure of the dhrupad alap. First the COMPOSITION AND tonic (sa) is established. Then, the other Composition IMPROVISATION notes are slowly introduced one by one. As is the case with improvisation, we must The artist plays a note, moves to another, first consider the meaning of the word and returns, establishing a context for each 'composition' in Indian music, because it The modern Western world does not know im­ note. Starting in the lower octave, all notes differs greatly from the Western concept. provised classical music. Our classical works have are carefully made to shine, gradually Indian classical music does not know all been written down, fixed. They may be re­ working up to high sa, one octave above scores, pieces of music that have been writ­ created in performance, but never recomposed. the tonic. After that, improvisations move ten down entirely. In India, composing Indian classical music is generally qualified more freely over the entire range of the in­ takes place during the practice-time of ac­ as improvised music. However, it also knows strument, creating tensions and resolving complished musicians. They search and composed parts. The balance between the two dif­ them, firmly establishing the atmosphere find new phrases by re-ordering the tradi­ fers from musician to musician and from style to of the raga. tional material. The new pieces are not style. We have already dealt with the subject in Sometimes, artists base their alap from written down, but remembered and repro­ relation to vocal music in previous articles on the beginning upon some characteristic duced in performance. dhrupad (issue no. 2) and khayal (issue no. phrases in the raga, from which they pro- The word 'composition' refers to a short 3). In this article we will attempt to shed some light on the question of composition and impro­ visation in the different parts of an instrumental performance. We will focus mainly on sitar and sarod, because the performance style for these in­ struments differs most from vocal practice. In a future issue we will go into improvisation and composition in drumming, which calls for sepa­ rate treatment. Improvisation Before we begin our discussion the concept of improvisation must be properly un­ derstood as it applies to Indian music. In the classical traditions, improvisation is not just 'playing what you feel' or playing within a scheme of chords, as is the case with jazz music. The Indian musician al­ ways has to remain within the strict limits of the raga he is presenting, whether he is playing composed parts or improvisations. The slow introductory section of a clas­ sical performance, alap, is an improvised part par excellence. In it, the artist is not 'restricted' to composed parts or rhythmic structure; he seems to be at liberty to weave whatever melodic threads he pleases. On the other hand, we can argue that the artist is in fact strongly restricted in The sitarist Jamaluddin Bhartiya in great concentration whilst improvising alap. alap. A knowledgeable audience expects the purest expression of the raga in this part. Slight faults, which may pass unno­ ceed to build up a full picture. This is espe­ piece of fixed melody in a particular raga. ticed in other sections, stand out in alap. cially common for ragas of a lighter Compositions are usually passed down However, the fact remains that there is character. from guru to disciple without change, but an infinite number of ways to delineate a A third possibility is an extremely short they may be altered and new ones may be raga correctly, as one can hear from con­ alap, which is later elaborated upon during composed. certs and recordings. Some ragas may the part with tabla accompaniment. This An instrumental composition consists of leave more scope than others, but most structure is copied from khayal singing. two or three parts. First sthayi, which alaps will be quite different from artist to In general, instrumentalists devote one moves mainly in the middle octave; some­ artist and even from performance to per­ third to one half of the total performance times manjha, which extends into the lower formance, although generally one picture, time to the alap section, which sometimes octave; and finally antara, which leads up one mood emerges from the particular comprises jor and jhala, in which a pulse continued on page 2 2 At the end of an improvisation, Ali Akbar Khan indicates the return to sam with a nod to the tabla player Zakir Hussain. continued from front page in rhythm is tana. Tanas display great var­ individuality of the raga. In spite of this, iety in melody and rhythm, but in gene­ virtuoso tanas and complicated tihais seem to high sa. ' ral one can say that they are fast and use Such a composition rendered in full cov­ to dominate the composition section of many notes, moving over the entire scale. many performances nowadays. Artists de­ ers only a fraction of the total performance They differ in the techniques used and vote an inordinate amount of attention to time; usually less than a minute. Still, it their melodic forms. is considered very important by discern­ what often amounts to not much more In principle, tanas are improvised; but than mere gymnastics. It is deemed more ing listeners. A good composition shows we cannot say this without classification. important to impress the audience than to the essential melodic outlines of theraga Firstly, every artist has a set of' stock tanas' play a few meaningful and well executed fully and beautifully. At the same time, it in every raga, which he will either play corresponds perfectly to the structure of the tanas, which can indeed have great beauty. exactly as he learned them or use as the Tanas abound especially in the fast com­ tala in which it is set. basis for others. Then, there are many position, which follows the first composi­ Traditional musicians treasure old com­ tanas which are based on technical exer­ tion in slower tempo. The speed and com­ positions which their predecessors have cises. These exercises may be transported plexity of the tanas increases as the perfor­ composed. Music students are eager to to other notes (or even ragas) or varied a?d mance progresses. learn as many compositions as possible, combined, so that the 'improvisational because their several parts form a valua­ Sitar and sarod players often conclude aspect' increases. Finally, there are tanas with a very fastjhala. Injhala the melody ble concentrated outline of the raga, which which come directly from the inspiration, is simple, but the notes on the main strings can be used for improvisations. mastery and genius of the artist and which are alternated with strokes on the chikari The beginning of the composition sec­ can justifiably be called improvisations. All strings, which are turned to a chord in tion of the performance is always clearly tanas, however, have to remain within the which the tonic dominates. In this way marked by the entrance of the rhythmic ac­ limits of the raga structure. 'Free' impro­ rhythmic patterns are created, subdividing companiment. Usually the soloist repeats visations are out of the question. They the tala in different sections with varying the first part of the composition several spoil the mood of the raga (and the accents. The performance is brought to a times, whilst the tabla player improvises. audience). climax by a very fast tana and a final tihai In the course of the performance, this sthayi Tanas can be played from any given which is followed by the tabla player, with is repeated played as accompaniment to point in the rhythmic cycle and can retu~n rhythmic solos and as a starting or return­ both musicians ending perfectly on the last to the composition at any point at the dIS­ ing point for improvisations. sam. cretion of the performer, although the After the first tabla solo the instrumen­ heavily stressed sam has preference. While talist plays the other parts of the composi­ We have seen that in alap, tana and other the solist is improvising, he follows the parts of the performance there is no clear­ tion, which may be followed by several rythmic cycle internally or watches the ta­ cut division between improvisation and kinds of improvisations. In the case of a bla player, who indicates the tala with its composition. Improvisations always in­ short alap section, the alap may be contin­ basic strokes. volve some preconceived ideas or practi­ ued within the rhythmic cycle. While the Usually, all notes in a tana are equal ce, and even compositions are not comple­ tabla player indicates the tala with simple length and played in fluid succession. tely fixed. Truly new patterns hardly ever strokes (theka), the soloist improvises, now Sometimes, however, they display rhyth­ come into existence, but no two perform­ and then returning to the main stress of mic complexity, usually not entirely im­ ances are quite alike. The musician on the the cycle via a part of the composition, but provised. As with melody, many artists stage rearranges and elaborates on already otherwise maintaining free rhythm. have stock rhythmic patterns, into which existing patterns, combining the best of an Catkari and chand take liberty with the they fit the notes of the raga. This holds age-old tradition with the inspiration of the rhythm in an opposite way; they.c?nsi.st true especially for tihai, a pattern repeated moment.
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