So far we’ve looked at the ingredients of Indian classical music. Now let’s see how a typical performance is cooked and served – how a raag is actually presented on stage, especially in a khayal concert.
1. Alaap – the opening sketch
Many performances begin with Alaap, sometimes purely with tanpura, sometimes with a soft hint of tabla. The artist slowly introduces the raag, moving through its important notes and phrases, often starting in the lower register and climbing upward.
2. Vilambit Bandish – slow composition
Then comes the Vilambit Bandish – a composition in a slow tempo (vilambit laya), set in a taal like Teentaal (16 beats) or Ektaal (12 beats). The bandish has lyrics, melody, and a fixed basic structure, but around it the singer weaves extensive improvisation.
In this stage you’ll hear:
- Bada Alaap around the bandish – extended melodic exploration.
- Bol-baant – rhythmic play with the words of the composition.
- Sargam – using swar names (Sa Re Ga…) instead of lyrics.
3. Taan – the virtuosic climb
As the performance gathers energy, the artist introduces Taans – fast patterns in various styles (sapat, bol, gamak, etc.), always respecting the raag’s grammar and landing cleverly on the sam of the taal.
4. Drut Bandish – the fast conclusion
After the slow, expansive canvas, a Drut Bandish (fast composition) brings a sense of brightness and closure. Here taans are even more brisk, layakari (rhythmic play) is more obvious, and the whole performance moves towards a climax.
The grand ending often features a powerful taan or a beautifully resolved phrase that lands squarely on the sam, like a gymnast sticking the landing.
Throughout all of this, the artist must keep the raag’s identity intact, balancing discipline and creativity. It’s a bit like a great speech: the speaker may improvise, joke, and riff, but never loses the thread of their main message.