{"id":6624,"date":"2025-08-19T12:54:00","date_gmt":"2025-08-19T12:54:00","guid":{"rendered":"https:\/\/artiumacademy.com\/blogs\/?p=6624"},"modified":"2026-02-06T16:19:43","modified_gmt":"2026-02-06T16:19:43","slug":"lifeline-of-hindustani-classical-music-improvisation-in-music","status":"publish","type":"post","link":"https:\/\/artiumacademy.com\/blogs\/lifeline-of-hindustani-classical-music-improvisation-in-music\/","title":{"rendered":"The Lifeline of Hindustani Classical Music: Improvisation In Music"},"content":{"rendered":"\n

Why Hindustani Classical Music Feels Difficult at First?<\/em><\/p>\n\n\n\n

The typical reaction from almost all music lovers is that Hindustani Classical Music is not easy to understand when they first start listening to it. And yes, that\u2019s a fact \u2014 one that surprises and even frustrates many first-time listeners. Let us try to understand the problem first. Why is it complicated to grasp? Why doesn\u2019t it immediately sound \u201cenjoyable\u201d like a catchy film song or a popular tune on your playlist? Why don\u2019t we start grooving to it the moment we press play on our favorite sound systems? <\/p>\n\n\n\n

The answer lies in the nature of this music itself. Improvisation in Hindustani Classical Music is deeper than what we think or assume; it demands attention, patience, and, most importantly, a willingness to listen deeply. It’s a slow unfolding of emotion, mood, and thought, unlike most modern music that is designed for instant appeal. Another point is that Hindustani Classical Music<\/a> typically doesn\u2019t incorporate electronic music or studio effects. But once you get past the unfamiliarity, a whole new world begins to open up.<\/p>\n\n\n

\n
\"Hindustani<\/figure>\n<\/div>\n\n\n

The Familiar Idea of Music Vs the Concept of Hindustani Classical<\/h2>\n\n\n\n

The known concept of music is this: there will be some lines, or some verses, a composed tune for those lines, and the musical pieces playing in the beginning (Prelude), and between two verses (interlude). This entire production can be considered a \u2018song\u2019. When it comes to Hindustani Classical music, the entire concept is something distinct, and that difference is not easily comprehensible to many. <\/p>\n\n\n\n

This same difference causes the initial reluctance when we start listening to Hindustani Classical music. The first part of the difference lies in the name itself; when someone presents a \u2018song\u2019, they are presenting a composed piece of literature.<\/p>\n\n\n\n

But when someone is going to perform Classical, he\/she is going to perform a Raag, and under the umbrella of the Raag comes a composition, called a <\/em>\u2018Bandish\u2019<\/em><\/strong>. This difference is taught by a Guru when we start learning Hindustani Classical.<\/em><\/p>\n\n\n

\n
\"The<\/figure>\n<\/div>\n\n\n

Two Important Terms: Nivaddha & Anivaddha<\/strong><\/h2>\n\n\n\n

Let\u2019s try to break down this difference a little more. First, we need to know two Indian terms: NIVADDHA and ANIVADDHA.  \u2018Nivaddha\u2019 means something which is already composed, like a composition of some verses, like a song.  \u2018Anivaddha\u2019 is something that can be done in addition to the \u2018Nivaddha\u2019 part. That simply means, \u2018Anivaddha\u2019 is IMPROVISATION.  <\/p>\n\n\n\n

There are portions of both Nivaddha and Anivaddha in every genre of Indian Music, but in Hindustani Classical, the allotment of these two portions differs. In any other Music, the Sur or composition of the verses can be revised with some improvisation, the musical pieces can be improvised while performing, but after all of these, the percentage can roughly get to this: <\/p>\n\n\n\n

Nivaddha: 80% <\/p>\n\n\n\n

Anivaddha (If any): 20% <\/p>\n\n\n\n

Here is the twist. In Hindustani Classical, THIS percentage becomes:<\/em><\/p>\n\n\n\n

Nivaddha: 25% (Just the Bandish, a small, composed piece of poetry)<\/p>\n\n\n\n

Anivaddha: 75%<\/p>\n\n\n\n

This means that Hindustani Classical is more dependent on thinking and creating something on the spot. The artist is not just rendering a script or reciting a piece of poetry; they are sculpting something immersive, right before your eyes. <\/p>\n\n\n\n

Like here, Pandit Venkatesh Kumar Jee sings Bandish in Raag Durga, but his singing becomes more of his thoughts and creativity, transcending the composed Bandish:<\/p>\n\n\n\n

\n