Raga Improvisation & Expansion

Varanasi.jpg

(Picture above: my hometown of Varanasi, India, famous for Indian classical music, especially tabla)

Ever wondered what musicians play after the main composition and how it’s structured?

Especially in the slow (vilambit) part of the composition, there are a number of devices and pathways available to the artist.

As a short example, I start with a very standard composition in slow 16 beat cycle in Raga Marwa-(notations provided below)…


The main composition is repeated a few times:

(italics: lower octave) Bold: Upper Octave, lowercase:komal, UPPER CASE: Shuddha

Starts from 12th beat.DD N rr G m D-, D m G r SS, N r N D

It is essential to maintain a very prominent Dha in the lower octave, to bring out Marwa’s mood.

Thereafter, the following expansion pathways are demonstrated:

-Vistaar (expanding upon the notes, with our without metre)

-Aamad: Rhythmic variations

-Bol – Taans with Bols

– Peshkar (rhythmic phrases)

Only a few short samples are provided, and the main composition is played over and over again – but these are just few pathways which can be explored in playing the raga…