Indian classical music today is more alive than ever before in India and its root is traced back to thousands of years. Though books were written from time to time on the science of music, they were not written down in notations. Music was handed down through ages from master to disciple and thus was enriched by new contributions, though the basic spirit remained the same. It is only in recent years that a notation system has been evolved to write down the fixed compositions in our music, but the improvisation is the highlight in Indian music. The sheer joy of creating on the spot by a musician, always coming back to the main theme in the raga he has chosen, is what listeners look forward to. The excitement grows to its height when the drums join in and the rapport is continuous between the musician and the listeners. And thus, both musicians and the listeners share the ecstasy of this thrilling adventure and unfolding of new beauties. Drums are of precise melody forms, a raga is not a mere scale, nor is it a mode. Each raga has its own ascending and descending movement, and those subtle touches and usage of microtones and stresses on particular notes, like this. With the tambura, the drone instrument in the background, the soloist does a free improvisation known as alap, after which he starts the theme based on a rhythmic framework known as tala. He can choose from many talas, such as teen tal, a rhythmic cycle of 16 beats, or jhaptal, having 10 beats. The tabla or the drums, which keeps this framework, just plays the thekas or beats in the beginning as you heard just now. Then starts the gradual progression of playing first smaller patterns, then longer ones. In the beginning, the accompanying tabla gives, if I may say so, a reply to the lead instrument, such as the sitar. At times, they may play together a long rhythmic pattern and return with a climax to sum, or the one, which is the most important thing, like this. Although the role of the tabla is relatively free, it is the lead instrument which directs the whole progress of the improvisation. The western listener will appreciate and enjoy our music more if he listens with an open and relaxed mind, without expecting to hear harmony, counterpoint, or other elements prominent in western music. Neither should our music be thought of as akin to jazz, despite the improvisation and exciting rhythms present in both kinds of music.