parts of indian classical music

Hindustani classical music has several components: The raga, the taal, and the lyrics. The raga is a specific set of notes grouped together. In total, there are around 150 ragas, and each of them is associated with a certain time of day in which they are meant to be sung. This time is called the prahar. In indian classical music, there are seven notes consisting of Sa, Re, Ga, Ma, Pa, Dha, and Ni. These notes correspond to the Do Re Mi Fa So La and Ti, of the western scale. Re, Ga, Pa, Dha, and Ni have a normal form and a komal form, meaning a half swar lower.  Ma has a teevra form, which is a half swar higher. Various combinations of these swars create a raag. For example, raag Bhoop is Sa Re Ga Pa and Dha, all in normal or shuddha form. The lyrics in indian classical music are not as important as the melody and variations. When a set of lyrics is set in a raag, it becomes a bandish. A bandish usually has a first stanza called the asthai emphasizing the lower part of the scale, and a second stanza called the  antara emphasizing the higher part. The taal of a Bandish is the rhythm applied to it. There are a many taals including some common ones such as teen taal, bhajan taal, and keherwa. The taals have emphases on certain beats called the sum and Khali, sum being most important, and khali being second. The taals dictate the tempo and rhythm of the bandish. 


Indian classical music is based on the Khyal, literally translated as thought. Due to this, the improvisation is key. The general format for a bandish begins with a raag vistar. This is purely improvized with only swars, and serves to create the mood of the raag. In the raag vistar, each swar in the raag is lowly introduced. Next comes the bandish, followed by a aalaps, or small patterns of swars to showcase the beauty of the raag. Then there are taans which are very fast aalaps, ment to thrill the listener. the bandish is ended with a tihai, or a repitition of the first line thrice to create a dramatic ending.