What is Alap in Indian music?

The introduction in Indian music is called Alap, which means "speech" and which serves to outline the Raga through a gradual melodic exposition. In Alap two phases can be identified, a first where there is no explicit reference to a rhythm and a second where instead there is a pulsation, which sees the rhythmic intensity gradually increase. Alap can be classified both from the point of view of extension and by the nature or character it is intended to express. We have for example the Aucar Alap, an unconventional way of expounding a Raga through a simple summary introductory description of the main movements of the scale, usually used as a prelude to a more serious and profound exposition within the compositions accompanied by percussion. The Bandhan Alap, on the other hand, contains in the first part a specific composition representative of a particular lineage or Gharānā. The musician will choose to use these melodic compositions to impress the audience and to highlight the specialties of his school. The term bandhan here takes on the meaning of "pre-composed", "linked to a certain school". When the musician is satisfied in having honored his school, he moves on to an extemporaneous exposition of the Ālāpa. In the Qaid (or Kayed) Alap a systematic exposition of the Raga is created, where each of the fundamental notes is taken as central, and around which phrases are built to gradually expose the chosen Raga. These phrases gradually become longer and more complex and follow a hierarchical structure of the three octave tetrachords. The term qaid or kayed is to be understood as 'respecting the rules'. Finally, we have the Vistara Alap, where all the notes of the Raga are introduced gradually one at a time, so that the phrases never go beyond the note below above or below the phrasing previously exposed. With this last technique we tend to create an event every time a new degree of the scale is introduced.

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However, when classifying the nature of Ālāpa, it is necessary to take into account both the school or Gharānā to which the musician belongs and the playing style. Just as in the West a conductor significantly influences the performance of a piece, so in Indian music four performance techniques can be distinguished:

Gauḍa, Gauḍahāra or Gobarahāra Vāṅī: style that evolved in the Gauḍa region, ancient name of Bengal, also known as ṤuddhaVāṅī or pure style. There are no "useless" or excessive embellishments on the notes, which are used individually, depriving them of any decorative element, except for glissandos, which are the only ornamentations used in this style. The Rabāb is the instrument that best expresses the style called Gauḍa Vāṅī. This school of musical thought mainly uses the Śānta Rasa, or the essence of peace, and the Bhakti Rasa or essence of devotional love as aesthetic and emotional aspects.

Ḍāgar Vāṅī: this style is much more poetic and full of embellishments than the previous one. Many more ornaments are used and in addition to Śānta Rasa, Madura Rasa is also preferred, a sweet and fascinating essence and, in opposition, Karuṇa Rasa, a tragic essence, which arises from a state of intolerance and pain.

NauhāraVāṅī: some musicians say that this name derives from the roar, as a sound symbol of royalty and strength. In this style almost all ornamentation techniques are used and can be interpreted by all melodic instruments, which does not happen with other styles that have specific instruments that interpret the repertoire. The Rasa mainly expressed is Adbhuta or wonder.

Khaṇḍāra Vāṅī: this style is mainly characterized by the use of Gamaka and is expressed on a medium and sustained speed rhythm. The essences expressed in this style are often courage, called Vīra, and wonder, called Adbhuta.

In the tradition of Indian classical music we start from a very slow tempo and gradually increase the speed. It must be underlined that in the Vilambita Laya, or sustained tempo, and also in the medium speed exposure, Madhya Laya, the Gauḍa and Ḍāgara styles are used without distinction. The four styles mentioned are found expressed both in the compositions as in the Tarānā and in the Ālāpa, finding their counterparts in the treatise Saṁgītaratnākara qua Gīti. The emotion therefore does not depend only on the combination of notes but rather on the way in which they are expressed. On a purely technical level, there are traditionally thirteen moments within the Ālāpa, but one of these has fallen into disuse. However, today it is rare to find a musician capable of completely satisfying all the moments described by the theory. The usefulness in following these stages of the Ālāpa step by step is to provide an exposition that gradually and without interruption reaches its culmination. Thus the Ālāpa will have satisfied its nature which is to bring the listener to the quintessence of artistic and aesthetic ecstasy. The singers use meaningless syllables precisely so as not to distract the audience's attention from the melodic exposition.

The thirteen steps in the Ālāpa are:

• Vīlambita

• Madh      or Madhya

• Druta

• Jhālā

• Ṭhoka

• Laḍī

• Laḍaguthāo

• Laḍalapeṭa

• Paraṇa

• Sāth

• Dhuyā

• Māṭhā

• Paramāṭhā (become obsolete)

These moments of the Ālāpa are called Aṁga, points (b) and (c) are called Joḍ.

(a) Vīlambita means 'slow'. The four parts of the Ālāpa, Sthāyī, Antarā, Sañcārī and Ābhoga are presented in a sustained tempo, which gradually increases in speed, although the tempo remains sustained regardless. To make the gradual increase in speed perceptible, the Vīlambita is divided into three moments:

• Vīlambita      - Vīlambita

• Vīlambita      - Madhya

• Vīlambita      - Druta

in particular:

• Vīlambita – Vīlambita: the      Ālāpa can start from the Graha Svara (the note that is formally used to      start a Rāga) and then arrive at the Aṁśa Svara (the main note of a      Rāga), in case this is not the Graha Svara; after which the Saṁvādī (the fourth or fifth) of      the Aṁśa Svara should focus on the latter, concluding the Tāna (rhythmic      melodic variation) on the Nyāsa Svara (final note of the variation).      Alternatively you can start from the Ṣaḍja (tonic), after which having      touched the Aṁśa Svara and its Saṁvādī, you should end up on the      Nyāsa Svara. Finally, one could start from the Aṁśa Svara and conclude on the Saṁvādī. It must be underlined      that in the Ālāpa everything that is expressed in the first three moments      is called Tāna and the end of each Tāna is underlined by a phrasing called      Moharā. Prolonging a melodic composition without Moharā would make the      exposition extremely boring, both for the performer and for the public.      Furthermore, the Moharā helps the musician to change the pattern of the      Tāna.

• Vīlambita – Madhya: it is      almost like the previous Vīlambita – Vīlambita with the only difference      that small Tāna, slightly faster, should be inserted between the slower      Tāna. In this portion the Vidāra Tāna (unexpected or unnatural use of a      sequence of notes or a combination of notes) are used, and the use of      Cikārī (strings stimulated for a purely rhythmic purpose or designed to      create the drone). The Antarā verse is used.

• Vīlambita – Druta: It is      relatively faster, faster Tānas are introduced and the Sañcārī and Ābhoga      stanzas are used.

In all the above passages a sustained tempo Moharā should be used to assure the listener that the Vīlambita is continuing. The Moharā, in fact, differ depending on the tempo.

The term Joḍ in Hindi means 'connection' or also 'through which things are connected', and indicates the part that connects the arrhythmic phase of the Ālāpa with the Tāra-Ālāpa, the rhythmic part, which also contains the Jhālā. In order for the Joḍ to fulfill its function of conjunction, it will have to be expressed in a light enough way so as not to create any type of detachment or discordance with the whole. For this reason, just a slight rhythmic hint will be transmitted in this transition phase.

(b) Madh or Madhya is the phase which maintains a tempo of medium speed, where rhythmic hints appear for the first time. This moment in turn must be divided into three sub-categories

• Madhya-Vīlambita

• Madhya-Madhya

• Madhya-Druta

These are relative terms and there are no actual measurements of time that can fix them. The tempo depends on the musician, but it should be remembered that some instruments allow a more sustained performance than others.

• Madhya-Vīlambita:      Musicians call this phase 'Ḍagar      kī Baḍhat'. Ḍa, Ga and Ra are the      three strokes used when playing the Vīṇā, while Baḍhat means 'increase' and therefore, the      tempo of the strokes Ḍa,      Ga and Ra increases in speed. This means that the Madhya phase should be      played faster than the previous Vīlambita. Elements such as the Cikārī,      the Mīḍ     (glissando) and the Syuṁt      or Āśa (legato) become more frequent compared to the previous phase. All      the sixty-three Alaṁkāras      previously mentioned can be selectively used.

• Madhya-Madhya:      Musicians call this phase 'Madh Joḍ'      and sometimes 'Barābar Kī Joḍ'.      Among the various meanings in Hindi of the word 'Barābar', here it takes      on the meaning of 'flowing', 'well-suited'. At this stage the Gamaka-Joḍ (oscillation linked to      the grace note) are used, Mīḍ     and Syuṁt      become less frequent and the notes are expressed independently. Cikārī are      used to a minimum. Since Gamaka are used, the appearance of this phase      sometimes becomes that of the Khaṇḍāra      Vāṅī and the      style of composition called Viḍāra      is introduced.

• Madhya-Druta:      Some musicians call it 'Laḍī-Joḍ'. It remains very      similar to Madhya-Madhya, but slightly faster and the use of Cikārī      decreases even more.

(c) Druta differs from the previous one with a higher speed time and with the total absence of the Cikārī. It is also divided into three sub-categories:

• Druta      -Vīlambita

• Druta      -Madhya

• Druta      -Druta

It will not be necessary to go into detail about these subdivisions, taking the previous ones as a reference.

(d) Jhālā - Although the previous phases involve both singers and musicians, this phase is purely instrumental, even if there are singers who imitate certain rhythmic effects with their voice. From this part onwards the rhythmic aspect of the Ālāpa becomes totally explicit. Sometimes musicians introduce this part directly from the previously illustrated 'Madhya-Druta'. Jhālā is an onomatopoeic term, resembling the sound produced by the Cikārī. The drone produced by three strings, tuned to the Pa (fifth), the central Sa (tonic) and the Sa of the upper octave, serves as a backdrop to the exposition of the Rāga. The plectrum or Mizrab moves quickly between the Cikārī and the string capable of producing the melody, alternating in various rhythmic combinations. Sometimes the percussions begin to accompany the instrument from this moment although this usually only happens in the Laḍī phase (compositions accompanied by percussion).

(e) Ṭhoka – is a variety of Jhālā, where the rhythmic combination between the melody, the Cikārī and the sympathetic strings often takes on more importance than the melodic sense. This does not mean that the meaning of the Rāga must always be maintained, respecting the rules, but all the possible games and rhythmic mixtures of this phase become the main attraction for the public. The meaning of the word Ṭhoka in Hindi is 'to strike'.

(f) Laḍī – in Hindi this term means 'garland'. From this point on everything falls into the category better known as Tāraparaṇa. Usually here the percussion makes its entrance as accompaniment. In the Dhrupada style the Pakhāvaj is used for this purpose, while in the more modern style called Khayal the Tablā are used. It is obvious to underline that from this phase onwards the rhythm becomes dominant while there is neglect of the melodic aspect exhaustively exposed previously, while still respecting the essential criteria of the Rāga. Laḍī is therefore a 'garland' of strokes, or Bola, used by percussionists. A brief phrasing by Bola is taken into consideration and from this a series of variations, combinations and arrangements are developed, both on the part of the melodic instrument and on the part of the percussion. Traditionally it is the melodic instrument that imitates the bola of percussion. At this stage the rhythmic alphabet should remain simple. For example the phrase from Pakhāvaj

Dhuma Kita Tāka Tāka

can be developed to become:

DhumaKita Tāka Tāka | DhumaKita Tāka Tāka |

DhumaKita DhumaKita | Tāka Tāka DhumaKita |

TākaDhuma KitaDhuma | Kitakita TākaDhuma |

and so on.

On a stringed instrument the relevant Bola will be:

Dārāḍāḍā Rāḍāḍārā | Dārāḍāḍā Rāḍāḍārā |

Dārāḍāḍā Dārāḍāḍā | Rāḍāḍārā Dārāḍāḍā |

Rāḍāḍārā Dārāḍāḍā | Rāḍārāḍā Rāḍāḍārā |

Naturally there are no actual correspondences between the Bola of the percussion and those of the instrument, but individually the instrumentalist will imitate the rhythmic effect as he sees fit. The conclusion of this phase, replacing the Moharā, is signaled by the Tihāī (a rhythmic form that repeats a phrasing three times to conclude a variation and end on the first note of the composition or on the first beat of the rhythmic cycle), which at the discretion of the musicians can be varied, without naturally becoming boring.

(g) Laḍaguthāo – this word combines Laḍī, which as mentioned before means 'garland' and Gutthī meaning 'to strike'. It is nothing more than a Laḍī with more complex rhythmic movements.

(h) Laḍalapeṭa - It falls within the description of the previous two phases but with the use of the Alaṁkāra such as the Syuṁt (Āśa) and the Chūṭ for melodic exposition.

(i) Paraṇa - In this phase the instrumentalist expresses the Tāla on the Cikārī and then reproduces it on the string dedicated to the melody, concluding on the Sama (first beat of the rhythmic cycle) simultaneously with the percussion. This phase is also called Tāraparaṇa. There is therefore an alternation between the instrumentalist and the percussionist, where one replicates the rhythmic play of the other. This way of playing, in reference to the percussionist, is called Javāb (replicate) Saṁgat (accompaniment).

(l) Sāth -means 'together'. It is exactly like the previous step, with the only difference that the rhythmic composition is played simultaneously, and both should fall together on the Sama to satisfy the listener.

(m) Dhuyā – when Laḍī and Laḍaguthāo are expressed only rhythmically on the Cikārī, therefore without melody, this is called Dhuyā.

(n) Māṭhā - when Laḍī and Laḍaguthāo are expressed one after the other on the melody string and then on the Cikārī, this is called Māṭhā.

(o) Paramāṭhā - when Laḍī and Laḍaguthāo are played partly on the melody string and partly on the Cikārī, this is called Paramāṭhā. It should be underlined that this last phase has fallen into disuse.

It should be underlined that the three terms Dhuyā, Māṭhā and Paramāṭhā derive from classical texts, undergoing semantic diachrony.