This piece is a musical exploration based on the Sindhi
Bhairavi raga. It is part of the Bhairav thaat (similar to parent scale) which originated in Northern India.
At the beginning of this piece, Shankar plays the ascending and descending raga
scale on the sitar, which is roughly notated below.
This shows the ascending notes of the raga as played by Shankar. For the key used for this notation, the tonal center is C. Aside from the semitones and slurs, this raga is similar to the minor pentatonic scale used particularly in western jazz and blues music.
The descending portion of the raga scale adds melodic and harmonic complexity due to several note alterations. The first is the usage of the natural sixth degree note note, which adds a major quality to the raga, similar to the way the natural sixth is used in the western Dorian mode. Second, the flat 2nd note is used to create a minor second interval between it and the tonal center. This alters the sound of the entire raga, adding a phrygian or locrian quality to it.
This piece is centered around the improvisation of the sitar. The tabla and tambura instruments are used to accompany the sitar. Classical Indian is not centered around harmony the way western music is. This piece can therefore be seen as a kind of improvisational "vamp" using the Sindhi Bhairavi raga. The task of the accompanying instruments is therefore contribute to the atmosphere through rhythmic and melodic accompanying lines. The raga is played in 16 beats per cycle.
Structure is a fundamental part of Classical Indian music. The piece begins with the alap and jor- a slow introductory statement of the raga followed by a rhythmic exploration. Near the 5:20' mark the tabla enters, playing the gat. This marks the beginning of the alap, which is the main improvisation section. This is followed by the jhala section, which is playful and exciting, most notable for the melodic and rhythmic interplay between the sitar and drums. Overall, the structure of this piece has the effect of a constant building of momentum and intensity.
This piece is centered around the improvisation of the sitar. The tabla and tambura instruments are used to accompany the sitar. Classical Indian is not centered around harmony the way western music is. This piece can therefore be seen as a kind of improvisational "vamp" using the Sindhi Bhairavi raga. The task of the accompanying instruments is therefore contribute to the atmosphere through rhythmic and melodic accompanying lines. The raga is played in 16 beats per cycle.
Structure is a fundamental part of Classical Indian music. The piece begins with the alap and jor- a slow introductory statement of the raga followed by a rhythmic exploration. Near the 5:20' mark the tabla enters, playing the gat. This marks the beginning of the alap, which is the main improvisation section. This is followed by the jhala section, which is playful and exciting, most notable for the melodic and rhythmic interplay between the sitar and drums. Overall, the structure of this piece has the effect of a constant building of momentum and intensity.