Nistha Raj

Though Indian classical music has a number of stringed instruments of the bowed variety, the introduction of the violin to it, is quite recent. In fact, it is the first western instrument to be absorbed completely into Indian music.

The Indian violin is an important solo instrument, both in Hindustani and Carnatic forms of music.  The violin was introduced in Indian music in the early 19th Century when Baluswami Dikshitar learned the instrument from the army bandmaster at Fort St.George in Chennai, and developed new playing techniques to suit Indian music. The violin is played sitting down, the instrument pointing to the ground with scroll resting firmly on the ankle. Open tunings, such as D-A-D-A are commonly used in order to incorporate the drones that are such an important part of Indian music.

It has assumed a similar role alongside the sarangi in Hindustani music in the hands of such players as Allauddin Khan, VG Jog and more recently, N Rajam and other luminaries. Though gharanas are not well defined in the violin idiom, distinctive styles of playing are clearly emerging.
(Taken from the ITC Sangeet Research Academy website)

Hindustani classical music is based on Raag and Taal.  Raag is the melodic component while taal is the rhythmic structure and is played on a two handed drum called the tabla.

Raag is a combination of different swaras (notes) arranged in a systematic pattern. If rendered to perfection, they can create wonders.  Thus Raag Malhar can invite rain in any season and Raag Deepak can light lamps if sung with the right intensity and purity of purpose.  They can create different moods and emotions as well as a sense of time.

-Pandit V G Jog

The main components of a traditional concert performance are the alap, jor/jhala, vilambit gat, drut gat and jhala.

Alap is an unaccompanied section which is highly improvised and developed slowly and systematically. The character and mood of the raag is revealed through slow and meditative phrasing and highlighting of important notes.

Next is the jor, where the development continues and a steady pulse (rhythm) is established.  The final section of the alap is the jhala where the soloist plays fast and more rhythmic phrases, encompassing the entire range of the instrument while increasing to a climax.  This full alap, where all these characteristics are shown, is considered the essence of the raag and is the heart of the performance.

Following the alap is what is called the vilambit gat, which is a fixed composition set to a slow tempo rhythmic cycle.

Once the vilambit section is finished, the drut gat is played.  This is also a fixed composition set to a faster tempo rhythmic cycle.  Gradually the tempo is increased leading to the finale, the jhala.

For further information about Hindustani Classical music you may refer to:

http://en.wikipedia.org/wiki/Hindustani_music