The improvisation seems to be built neither on a raga system or on anything resembling a western chord progression. Instead it consists of an electrifying series of variations on a ten note figure, which occurs and re-occurs throughout the piece. Again and again the performer returns to this figure before starting off in a new direction, with a set of variations as fantastic as the ones he has just left. The simple and the complex act as binaries in a lot of World music, and Rajasthan is no exception. The notes tell us that they are supplied by a percussive lute, a cup cymbal player, and a waterpot performed after the manner of an American jugband.
Aural evidence tells a lot more.
Listen also to the plethora of rhythms which accompany the Muslim wedding procession. Harmonium and two sarangis accompany an extraordinary vocal extravaganza in which the singers shout their jubilation to the skies. For sheer delight it would be hard to imagine anything more exhilarating than this. Here, instead of circular breathing, we catch the sounds of intermittent throat clearing and coughing. I have never heard anything like this, either live or on record, and wonder whether it is a function of microphone placement.