Rod Campbell and Improvisation

One of themes discussed in T. Viswanathan and Matthew Harp Allen’s book Music in South India, is the importance of improvisation.  The flexible structure of karnatak music enables musicians to explore their musical style, and display their virtuosity.  Improvisation in music also entails the ability to adapt to all sorts of changes and challenges presented during a performance.  Karnatak musicians often must adapt their music during performances to fit the space in which they are performing, or the particular god to whom the celebration for which they are playing is devoted.  Karnatak musicians often play for temple festivals for which they play for several hours straight.  These opportunities provide them with time to work on their improvisations for their music such as alapana and niraval (Viswanathan 60). Similarly, Rod Campbell’s performances require him to be ready to improvise frequently.  In response to being asked about challenges faced in performance, Campbell said “Sound is paramount in any performance. If the audience can’t hear or understand you, then you’re doomed from the start.” He continued by describing a time during which he was scheduled to perform along with a few other musicians, and the venue had promised him particular equipment would be provided for them which was not.  He and his fellow musicians had to do the best they could with what they had.  They had to change some of their song choices which they knew would not project well without the proper sound system, but they still managed to have a wonderful performance. “As the old saying goes, ‘we improvise, we adapt, we over come”, said Campbell. Performers of South Indian karnatak music, and Rod Campbell, make use of the idea of improvisation frequently in their music, but their uses vary.