01. An introduction to the North Indian classical music system and tradition

Indian music is based on the concept of raga, which can (very loosely) be interpreted as a musical scale, or more correctly as a melodic theme based on a distinct musical scale. If one doesn’t appreciate this, then Indian classical music would sound (to put it inelegantly) like a dirge, and this is the main reason why the uninitiated not only get put off by it, but also get a little short-tempered with any of their companions who know enough to derive some enjoyment from it.

Of the two main branches of Indian classical music, the problem mentioned above is probably more acute in respect of the north Indian system, called Hindustani , classsical music, compared with the south Indian, or Karnatic, system. This is because the south Indian musician tends to present his art in a series of set songs, or kriti (a work or opus, as it were), 'set' in the sense that the sequences of musical phrases and note sequences are as per the original composer, with less time given to the performer’s own improvisations. Thus the average listener is rewarded by early recognition of what the singer is doing, and if he knows the raga or the composer, he can even feel knowledgeable and in charge.

In Hindustani, in contrast, the introductory part, which expands the raga without words, occupies a large portion of the performance; the song or composition which follows (termed the cheez, or thing, i.e. a compositional piece, or a bandish, something  that is bound or tied to a melodic line), is itself used only as a very loose frame, or foundation on which to improvise. In fact the singer may not even enunciate more than the first two or three words, the signature, as it were. The rest of the expansion is borne on vocalisations of different sorts consisting essentially of connected musical phrases or taan. Some singers or styles of singing prefer to use an open vowel like [a:] (which puts off many people because they are forced to watch the facial contortions and bad teeth of the performer, which detracts from their appreciation of his or her music!). This may be interspersed with improvisation using the words of the song (bol-taan) and alternatively the names of the notes (sargam or sapat taan, akin to solfege or singing doremi along with Julie Andrews). These passages give more specific information on the notes used, and hence the raga or its particular variation or provenance, and show less of the singer’s mouth parts, and hence may be visually more pleasant!

An aside: making the a:- a: aakar taans by moving the jaw (the lower one, which is the one that moves) up and down, called jabde-ka-taan, is a no-no. It comes out as a:-ya-ya, which is not nice. You have to use your throat muscles, to produce a smoother a-a-a!