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1. Carnatic Music and Hindustani Music -
Classical Concert Pattern
South Indian states including Karnataka, Andhra Pradesh, Telangana, Kerala, and Tamil
Nadu as well as Sri Lanka are known for their Carnatic music tradition. It is one of the
two primary sub genres of Indian classical music that originated from the Samaveda and
other ancient Hindu texts and traditions. The other subgenre is Hindustani music, which
was influenced by Persian or Islamic music from Northern India to become a unique
genre.
Elements of a Classical Recital
In classical Indian music, vocal performances are valued higher than purely
instrumental ones (see "the pecking order"). Compared to the older, purer form of
dhrupad, performances of khayal are more commonplace today. A senior or advanced
student who is given the opportunity to also play the accompanying tanpura in order to
offer a constant drone in the background occasionally supports the soloist (who is
typically a maestro of some standing, male or female).
The tabla, used for percussion, and some sort of melodic instrument, ideally a sarangi,
are additional accompaniment instruments. However, harmoniums are increasingly
frequently used for melodic accompaniment.
There may be a third, depending on the performer's state of mind and the audience's
response.
Although khayal is based on a composed song text, it is a highly ornamented
spontaneous type of singing, therefore the role of the melodic instrument is essentially
a secondary one, mainly shadowing and filling in occasional interludes if the singer
needs to pause, or to short think through the following improvisation.
Usually, the drummer sits to the right of the singer, and the person playing the melodic
instrument sits to the left. Usually, the tanpura player is seated slightly behind the
vocalist.
Currently, especially on international concert stages, it is necessary for the audience to
be able to see all of the accompanying musicians. However, in the past, in India,
accompanists, especially tanpura players, were almost hidden behind the soloist, and
accompanying musicians were typically ignored and frequently left out of recording
credits.

2. The singer starts off with a brief alap (slow, pulse-free introduction) that describes the
chosen raag's (melodic structure) key features. Once the raag has been established, the
primary song text composition normally starts without any words and is sung at a very
slow speed known as vilambit. In khayal, the lyrics are sparse and largely serve as a
refrain for the tremendous improvisation that is necessary for this style of singing. The
lyrics are typically chosen to fit the raag's overall mood.
Following this, the singer will begin a second composition in the same raag with a
typically different taal (rhythm cycle), and the speed is typically accelerated for the
second piece. The first piece explores the raag and focuses on its notes; in this piece,
the emphasis is on numerous technical flourishes, the performance of intricate taans
(melodic sections), and ornamentation known as gamak.
Currently, it is essential for the audience to be able to view all of the supporting
musicians, especially on international concert stages. However, in the past, in India,
accompaniment musicians, particularly tanpura players, were routinely overlooked and
left out of recording credits. They were virtually always buried behind the soloist.
The vocalist begins with a brief alap (slow, pulse-free introduction) outlining the salient
characteristics of the selected raag (melodic structure). The main song text composition
typically begins without any lyrics and is performed at a very slow speed known as
vilambit once the raag has been established. Khayal's limited words mostly act as a
refrain for the voluminous improvisation required for this type of singing.
Learn Carnatic music online.