Concerts

Public performance of Indian Classical Music is a recent phenomenon, evolving only in the last century. Earlier the performances were confined to royal courts or temples. They showcase talents of one or two individuals, rather than a large group, as other classical traditions might do. The main performers will be one or two and a small number of accompanists support the main performer/s.

The main performer will be a vocalist or play an instrument. He will be accompanied on one or two percussion instruments. In Hindustani music it is usually the Tabla, except in Dhrupad form where Pakhawaj is used. In Carnatic music the main percussion instrument is Mridanga. Ghata, Khanjira and Morsing are also frequently as additional percussion instruments (and rarely in the place of Mridanga). Thavil is used with Nadaswaram. The job of the persuasion accompanist is to maintain the rhythm and keep time according to the Taala being used.

The main performer will also be accompanied by a "melody" accompanist. In Hindustani that is usually a Harmonium. Sarangi has become a rarity. Violin is used very rarely. In most of the instrumental concerts, a melody accompaniment is not used. In carnatic the accompanying instrument is Violin. Rarely other instruments like flute are used. Again, if the main performer is playing an instrument, there may not be a melody accompaniment.

The drone is provided by Tanpura. Tanpura will be either played by a disciple of the main artist or by a professional tanpura player. Most of the top grade artists, especially when they get older will ask one of their main disciples to accompany them. If the main performer is a vocalist, the disciple will usually play the tanpura and also lend vocal support to the main artist, especially in Hindustani. If the main artist is playing an instrument, the disciple might accompany the artist on that instrument. It is not uncommon to see the son or daughter of the main artist accompanying the artist. Sometimes, there may be more than one Tanpura accompanists, esp. in Hindustani. Tanpura-s forming the backdrop on both the sides of the main artist make an excellent picture. Unfortunately, sometimes, a sruthi box or an electronic drone is used instead of Tanpura.

The seating arrangement in concerts start with the main artist seated at the center. The percussion accompanist is usually to the right of the artist (left from audience perspective) and the melody accompanist sits to the left of the main artist. The tanpura artist sits just behind the main artist. Rest of the accompanists sit behind the main artist and the main accompanists. Usually the instruments are first brought out and kept on the stage. Then accompanists come and occupy their positions before the main artist comes on the stage. The artists sit cross legged on the stage, after removing the footwear as the tradition demands.

Artists spend some time tuning their instruments on the stage, though most of the tuning is expected to have been done before they come on the stage. The main artist tunes the Tanpura before the concert starts. Some instruments may need retuning as the concert proceeds, usually in between two raaga-s.

Distinction needs to be made between Dhrupad and Khayal traditions when describing Hindustani concert structures. Also within Khayal, vocal and instrumental performances follow different structures. There are some differences among various gharanas too.