The first layer that I hear in track thirty-two is the sitar. The sitar is played faintly and can be heard after four seconds have passed and then at eight seconds, the melodic character becomes more disjunctive and the notes sound farther apart. Then, at nine seconds the melodic contour goes from consistency to many changes. The song uses a lot of phrasing and I can tell this because there are many pauses throughout the song. At twenty, I notice a motive that happens with the sitar. The melodic character once again becomes disjunctive and the sitar hits this high, distinctive note.
After thirty seconds, the tabla comes in and this is where the tal comes in. The tempo of this layer is very fast and you can hear thee sitar in the background. There is now a consistent pulse because of the tabla and now there is a definite rhythm going on. The first thirty seconds of the song is the alap because it starts off slow and abstractly and I really don’t know what’s going on. It almost sounds as if the musician is just tuning the sitar. Then, when the tabla comes in this is called the jor because it is the second part of the alap in which a rhythmic pulse is introduced. Jor is also defined as having no meter which I could clearly hear. At forty one seconds, the tempo and rhythm of the drum becomes even faster and at forty seven seconds, it slows down and actually becomes metric. It possibly has a triple meter.
From one minute and thirty seconds to one minute and forty seconds, the tabla overtakes the sitar and then they eventually have the same timbre. This happens at one minute and fifty seconds. An important dynamic happens at one minute and fifty one seconds which is just the tabla playing by itself, one strike, and then the sitar and tabla both keep playing. At two minutes and thirteen seconds, the sitar is more prominently this time. I believe that this is signaling that the last part of the rag is about to come. Throughout the rest of the song, i heard more of the sitar. There isn’t much ornamentation. The ending is slow and relaxing. The song is brought to a close.
The first layer in track thirty three is both the tabla and the sitar at the same time. This rag is much shorter so it can be already interpreted that the jor or momentum is going to be built up in the beginning and the alap might not start out as slow and abstract as track thirty two. Within the first thirty seconds, rhythmic variation can already be heard. In track thirty two it took some time for the rhythm to be heard. The rhythm sounds as if it is non-metric. The contour at first seemed steady but then at thirty six seconds the melodic character becomes very disjunctive. Everything about this raga is offbeat. It is hard to keep track. The instruments have a lot of different timbres. Nothing about this rag whatsoever stays consistent. At twenty eight seconds, the musicians really build up momentum. After one minute and nineteen seconds, a mukhra is implemented because I can hear that phrase from the first thirty seconds is repeated until the end of the song.
Right from the beginning of the raga, the first layer is the sitar and then in comes the drums. Once again, this raga is shorter and it only takes a few seconds for the alap to be introduced. Then, as soon as the tabla comes in, the jor is introduced. The harmonic character of this part of the rag is conjunct. Around twenty seconds, the tempo picks up. Then, after twenty nine seconds, the tempo increases even more. At fifty seconds, a new phrase comes along. The sitar can be heard more than the tabla. At fifty five seconds, it sounds like the composition is finally fixed. The tempo decreases and then soon the raga fade out.
During track thirty five, I hear the sitar and tabla come in simultaneously and automatically. The alap is skipped. This rag goes right into the jor. This could most likely be because track thirty two through thirty six is one complete rag. Therefore, track thirty two is of course going to be the most abstract and slow part of the rag. The notes throughout the rag are conjunct until fifty five seconds. At one minute, the notes become conjunct again. The contour goes up and down. There is this springy effect to the rag. At sixteen seconds, the tempo builds. The register of the notes rises. At thirty five seconds, a new phrase also comes in.
At thirty five seconds, the tabla plays very rapidly. It also sounds as if the tongue is rolling. At one minute and two seconds, all I could hear was the tabla. There’s a lot of buildup and break down in this rag. There’s a lot of interchanging between the tabla and the sitar.
In track thirty six, a lot of call and response happens. The tabla responds to the sitar. This happens after about ten seconds. More emphasis is placed on the tabla after twenty seven seconds. Then, the tabla fades out and all that can be heard is the sitar. At thirty seconds, the sitar is the fastest. The melodic character is very disjunctive but then again, that is hard to tell because I was not sure if the tempo is just becoming faster, if the notes are actually far apart, or both. The rag definitely has a swing to it, especially at the thirty five second mark. A motive in this song is how the tabla makes the tongue rolling sound once again at close to forty seconds. At one minute and seventeen seconds, the tabla and sitar do another call and response. It almost seems as of the sitar and tabla is playing cat and mouse.
The contour of this part of the rag never stays a consistent shape. It is constantly going up and down and all over the place. The function of this is most likely because the rag is coming to a close. The end of the rag is where the most momentum is built and then there is a breakdown. At ten minutes and two seconds, the sitar and tabla have the same timbre.
It seems as if the table sets the tone for each phrase. Every time the sitar comes in after the sitar is played, a new phrase begins. From two minutes and forty seconds until the end the tabla and sitar play in unison and have the same timbre.