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Gats

These ‘fixed compositions’ are unique to specific tal and rag combinations, and can be composed by using notes from the rag in such a way that they fit in with the tal. Here are two examples in which, characteristically, the gat does not start on the first beat of the tal. In both cases the tonic (Sa) is ‘C’.

 

 

Tihais

These rhythmic cadences can be performed in many different ways. The essence is that it is a pattern played three times that ends on beat one of the tal. Three examples:

 

Bibliography

This document is a drastically simplified summary of North Indian Classical Music, and has been drawn from material in the following books. It is highly recommended that you familiarise yourself with this material to give you a more solid understanding of Indian music.

Ed. Broughton, S & Ellingham, M (2000/2nd) The Rough Guide to World Music Volume 2, London: Rough Guides

Curtis, A. & Khan, V. (1990) An introduction to Indian Music, Composition and Improvisation in Indian Music, Raga in Music File Series 2, London: Mary Glasgow

Farrell, G. (1990) Indian Music in Education, Cambridge: Cambridge University Press

Farrell, G. (1994) Exploring the Music of the World: Music of India, Oxford: Heinemann/WOMAD

Floyd, L. (1980) Indian Music, Oxford: Oxford University Press

Sharma, E. (1998) Music Worldwide, Cambridge: Cambridge University Press

QCA (2000) Music: A scheme of work for key stage 3, Suffolk: QCA

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