| > What's amazing is that Indian classical music has no key. There is no absolute sense of middle C or whatever. It is relative to the tuning of the drone Yes, but practically there are standard pitch zones based on the tunability of certain instruments, particularly percussion. > Going up in the scale is different than going down and there are some key phrases that identify a raga. Then its all about interpretation. Sometimes but not always. Most ragas are the same ascending and descending. They are more like the western modes system. > Then its all about interpretation. There is actually a huge body of fixed compositions, for both melodic and rhythmic instruments, especially in Carnatic and Dhrupad traditions. Of course improvisation still plays a more important role vs. western classical music, but it is driven by a set of standard canonical themes. > Is there any specific tabla percussion associated with a Raga? Not formally, but as one develops as an Indian classical percussionist, you develop an ear for what sorts of rhythmic passages pair with certain types of melodic structures. For example, the rapidly rolling rhythmic structure known as a Rela pairs with steady fast pulsating melodic patterns. In terms of the actual type of percussion instrument there is a strong pairing, however. Tabla in particular is used in the Khyal style (the most prominent style of North Indian classical music and what you have likely been listening to), and is also used extensively in folk music. The Pakhawaj, a much lower pitch drum, is used with the Dhrupad style. Carnatic percussion, however, comprises a much larger variety of instruments, prime among them and closely related to the aforementioned Pakhawaj is the Mridangam. |
I in this list, http://soundofindia.com/raagas.asp I see half or more than half have different Arohana (ascending scale of notes) and Avarohana (descending)