About indian music. Firstly, the snake is basicly deaf, it reacts to the flute moving

Secondly. Their approach is way different. The essence of euopean classical music is totally different.
Firstly they use a just temperament since they don't have different keys. There is no need for out of tune notes, as a sacrifice for harmony and modulation.
The key used depends on the range of the singer. Every frequency can be used as a root note. The range of the singer is measured and the appropiate root is calculated. The instruments tune to this note.
Then we have a simple line up. We have a singer who is basicly playing solos(or a solo instrument, or both, or several solists). We have one or two percussion instruments and we have a tambura. This is a drone instrument, kind of like a pedal note. The instrument is tuned to the overtones. Often only Do(tonic) and So(dominant). It is the closest thing to a chord they have.
I am going to ignore the percussion instruments. Basicly they play a cycle of beats ranging from 3 to 9. These are called talas. Something called 'compound talas' are also possible. They might count up to 29 for one 'measure'.
The singer sings the notes from a scale like construction called a 'ragam'. All have a root(tonic) and a perfect fifth(dominant). Most have seven notes. Most ascend the same way they descend, but this may be totally different in complex ragams.
The ragam is also a harmonic mood. The notes are never played together but they superimpose a mood. This is why there are evening ragams and morning ragams. When they play for half an hour in the same ragam, which is done quite often, this creates a harmonic imprint in the listener. This and all the notes of the ragam against the drone of the tambura is the only harmonic element in the music, very subtle.
So lets assume the ragam has 7 notes, and is the same ascending and descending. There are 72 different ways to create a ragam. Note that the ragam must have a perfect fifth. The other positions in the scale have 3 variations, exept for the subdominant/fa. which has only two(actually perfect or augmented in our thermology)
A very common ragam, and often learned first because it is easy to sing is called Mayamalavagowla. When building this ragam on C in western note values we get: C Db E F G Ab B C Note the large number of augmented seconds, ofset against the minor seconds, in this scale. Very very rare in western scales.
This scale is sung with as little jumps as possible. And all notes are connected, one note flows to the other, so not stepwise like we do. This is why most instruments they use are fretless and why they prefer singers. They glide through the octave and stop on the right pitches. Often notes are microtonally ornamented. The singer 'hovers' around the note, like some kind of strange vibrato before playing the note itself unambigiously. The number of microtones are litterally endless. Though the music has 15 tones by itself with an added 7 common microtones. But all the scales can be translated to western equal temperament without losing much of the quality. Actually, some people play indian classical music on harmoniums or other keyboards now. But alot is lost this way.
Now, try stacking thirds on every degree of this scale like we do in the west. We get this chord scale:
Cmaj7 / Dbmaj7 / Em6 / Fm/maj7 / G7b5 / AbMaj7#5 / BMaj7(sus2)(b5)
Building chord progressions with these chords with as a goal combining the best of both styles of music seems futile. The sweetness of the Mayamalavagowla scale together with these bitter chords work together. I have tried to finda solution, but I don't have one. I am experimenting with this. I actually have a piano and saxophone sonata in draft using this scale in a western setting.
Creating both the modal mood of the indian scale and drone plus the western V-I cadence driven harmonic language. That's even harder to combine. The laws of physics, the overtones, won't let us.