fifteen stages of alap
eric parker
DS°such an elaborate exposition of ragas, at least in a commercial format.
DS°
DS°On the first CD, we have Shri (38:14 minutes) and Pilu Baroowa (31:30),
DS°while on the second there is Iman Kalyan (yes, that is how the 'Baba Allaudin
DS°Gharana' calls Yaman Kalyan--says the liner notes) for 46:57 minutes.
DS°
DS°The liner notes have a rambling explanation of what Alap means by Ali
DS°Akbar Khan. He mentions that Alap has 15 parts and goes on to list only
DS°stages 2,3, and 4, which are, respectively, antara, bhog (sanchari) and
DS°abhog. Could someone tell me what the remaining 12 are, and how they
DS°might be distinguished?
Dev,
Interesting you should mention.
Yesterday talking to Swapan Chaudhuri he tells us that Ali Akbar Khan
is in the process of adding a floor to his house. A primary purpose of
this, other than to accomodate his expanding family, is to build a
private recording studio where at a whim Khan Sahab will be able to
record whenever he is moved to. Hopefully this will give us even more
of the kind of music on the CD you mention. Apparently the addition is
about half way complete.
We also asked Swapan-da about the other stages of alap and he
indicated that Khan Sahab wants to produce a recording where he not
only plays all the stages but explains what each one is as he does so.
We can only hope and wait.
John, I'm sure, in the meantime can expand on the few stages mentioned
in the liner notes. Then we can se how close we get when Khan Sahab's
release comes out :-)
Any of Khan Sahab's students out there who can help?
Eric Parker (eric....@canrem.com)
*
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ţ RoseReader 2.10á P004767 Entered at [CRS]
--
Shiv Naimpally
Eric , why not call Steve Oda, long time AAk student and Torontonian
and ask him ?
Arthur Levine
>Eric , why not call Steve Oda, long time AAk student and Torontonian
>and ask him ?
>
Shiv, I believe Steve already reads this newsgroup. If he wishes to
respond, I am sure he will do so.
Art
Siddhartha Chatterjee
|> In article <1993Jun1.3218.3086@dosgate>, "eric parker" <eric....@canrem.com> writes:
|> |> DS Its the first time I have come across
|> |> DS°such an elaborate exposition of ragas, at least in a commercial format.
|> |> DS°
|> |> DS°On the first CD, we have Shri (38:14 minutes) and Pilu Baroowa (31:30),
|> |> DS°while on the second there is Iman Kalyan (yes, that is how the 'Baba Allaudin
|> |> DS°Gharana' calls Yaman Kalyan--says the liner notes) for 46:57 minutes.
|> |> DS°
|> |> DS°The liner notes have a rambling explanation of what Alap means by Ali
|> |> DS°Akbar Khan. He mentions that Alap has 15 parts and goes on to list only
|> |> DS°stages 2,3, and 4, which are, respectively, antara, bhog (sanchari) and
|> |> DS°abhog. Could someone tell me what the remaining 12 are, and how they
|> |> DS°might be distinguished?
The entry on "alap" in "Bharatiya Sangeetkosh" by Bimalakanto
Raychoudhuri lists thirteen stages of alap. I will translate the
article and post it to this group. The entry is six pages long, so it
may be late tomorrow before I can post it.
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Siddhartha Chatterjee
|> The entry on "alap" in "Bharatiya Sangeetkosh" by Bimalakanto
|> Raychoudhuri lists thirteen stages of alap. I will translate the
|> article and post it to this group. The entry is six pages long, so it
|> may be late tomorrow before I can post it.
Well, here is the article I promised earlier. This is a quick
translation of the entry in "Bharatiya Sangeetkosh" by the late
Bimalakanto Raychoudhuri. Note the extensive cross-references in the
entry. Of course, any errors of understanding, translation, and
transcription are entirely mine. I don't even claim to understand
everything in this article.
======================================================================
Aalaapa : According to Sangeetaratnaakar, the aalaapana of a raaga is
called aalapti. Aalaapana means to expose or to spread out.
Clarifying the form of a raaga in a free-form fashion by swaravistaara
is called aalaapa. Aalaapa is classified in two ways: first by the
extent of the aalaapa, and second by the nature of the aalaapa. Like
dhrupada, aalaapa also has four tuks or kalis (five in some
commentaries). See tuk.
Both classifications of aalaapa have four divisions.
In the classification of aalaapas by extent, the four categories are:
(a) aochaar aalaapa, (b) bandhaan aalaapa, (c) kayed aalaapa, (d)
vistaar aalaapa. Six mixed classes can be formed by the mixture of
these fundamental classes: aochaar + bandhaan, aochaar + kayed,
aochaar + vistaar, bandhaan + kayed, bandhaan + vistaar, kayed +
vistaar. We analyze only the four main classs.
(a) Aochaar aalaapa: No stringent rules are needed for this class of
aalaapa. The aim of this aalaapa is to present the form of the raaga
using the main phrases used in the raaga. This aalaapa is used as an
introduction to dhrupada, kheyal, or gat. This is not called a
complete aalaapa and it does not have the expansiveness of aalaapa.
An aalaapa in which only a glimpse of the raaga is had is called an
aochaar aalaapa.
(b) Bandhaan aalaapa: Different bandeji taanas used in different
gharaanaas are used in the sthaayee anga of the aalaapa, emphasizing
the characteristics of the gharaanaa. It is called bandhaan aalaapa
because it begins with bandeji taanas. Smaller taanas are used at
first, followed by larger taanas.
(c) Kayed aalaapa: In this aalaapa, taanas are played centered (kayed)
around the notes of the raaga. Notes are embellished using small
taanas first and larger taanas later. It is traditional to start the
aalaapa centered around the amsa-swara of the raaga, but often the
aalaapa is also begun centered around sadja.
(d) Vistaar aalaapa: This aalaapa is started with characteristic
swaravistaaras of the raaga, without regard to centering around notes
or bandeji taanas. Its nature is similar to that of the aochaar
aalaapa, but it is deeper and more extensive.
Now let us examine the classification of aalaapas by nature.
There are four kinds of expository styles or vaanees of swaravistaara
in aalaapa.
(a) Gour or gourhaar vaanee (also called Gaorhaar and Gobarhaar
vaanee): This vaanee probably got its name from Gaur (Bengal), where
it was prevalent. It is also called suddha vaanee, because it has no
ornate alamkaaras and the swaras are pronounced in a pure and simple
motion. Meend and aash (sut) are heavily used in this vaanee. This
vaanee is used extensively on the rabab. Santa and bhaktirasa are
prominent in this vaanee.
(b) Daagar vaanee: This vaanee was probably prevalent in a place
called Daagar. This is slightly more curved in motion than Gour
vaanee. Some alamkaaras are also used. This vaanee is particularly
suited to instruments supporting meend. Alamkaaras such as meend,
aash, and jamjamaa are used. Santa, karun, and madhur rasas are
prominent in this vaanee.
(c) Naohaar vaanee: Many opine that this vaanee gets its name from the
motion of the lion, but it is more likely that this too was named
after the area where it was prevalent. An even greater use of
alamkaaras than in Daagar vaanee is seen here. Alamkaaras such as
meend, aash, jamjamaa, gamaka, and chut are used in large quantities.
This vaanee is suitable for all instruments. Its predominant mood is
adbhuta rasa.
(d) Khaandaar vaanee: This vaanee probably originated from Kandahar.
The gamaka is the chief form of alamkaara here, and all other
alamkaaras are used in conjunction with the gamaka, making it
difficult to use it in extremely slow tempo. Vira and adbhuta rasas
predominate in this vaanee.
In all aalaapas, the Gour or Daagar vaanee is used in vilambita laya
and the other vaanees begin to appear starting from the madhya anga.
Similarities can be seen between these four vaanees and suddhaageeti
etc. mentioned in Sangeetaratnaakara. See geeti.
Now we describe the stages of aalaapa. Twelve parts (anga) of aalaapa
are prevalent; a thirteenth anga is now extinct. In singing, aalaapa
is sung with meaningless words. Previously it was possibly sung with
Sanskrit slokas. See taraanaa.
The thirteen angas of aalaapa are as follows:
(1) Vilambita
(2) Madh
(3) Drut
(4) Jhaalaa
(5) Thok
(6) Lari
(7) Larguthaao
(8) Larlapet
(9) Paran
(10) Saath
(11) Dhuyaa
(12) Maathaa
(13) Paramaathaa (now extinct)
The second and third angas are called jor. See jor.
(1) Vilambita: The sthaayee, antaara, sanchaaree, and aabhoga of
aaalaapa are normally performed in vilambita laya, but the antaaraa is
sung or played slightly faster than the sthaayee, the saanchaaree
faster still, and the aabhoga even faster. However, despite these
slight changes of speed, the laya should remain vilambita until the
madh-anga of the aalaapa. The changes of tempo should be graduated,
or else the audience will be hurt. Usually aalaapa begins from the
graha or amsa swara of the raaga or from the shadja of the middle
saptaka, and a taana ends in a mohraa after touching the amsa swara
and its samvaadee swara. Some people further divide vilambita anga
into three parts: vilambita + vilambita, vilambita + madh, vilambita +
drut. The rationale behind this subdivision is that the aalaapa will
become faster, but so slightly that it does not appear that one is
trying to change the tempo.
In the vilambita + vilambita anga: (a) A taana begins from the graha
swara, use the amsa swara and notes upto its samvaadee swara, and end
on the nyasa swara. This rule is usually used in aochaar aalaapa.
(b) A taana begins from the shadja swara and ends on the nyasa swara
after using the amsa swara of the raaga and its samvaadee swara.
This rule is used in bandhaan and kayed aalaapa. (c) A taana begins
from the amsa swara of the raaga and ends after showing its samvaadee
swara. This rule is applicable in vistaar aalaapa.
The vilambita + madh anga is like the vilambita + vilambita anga, but
some tukraa vistaara or taana in drut laya are used here. Birhar
taanas should also be used in this laya (see birhar). A slight amount
of chikari work is also used in this anga, somewhat more than the
amount used in the vilambita + vilambita anga. Of course, its tempo
is also slightly faster.
The tempo of vilambita + drut is slightly faster than that of
vilambita + madh. Sanchaaree and aabhoga are used in this anga. Some
small tukras in drut laya are also used in this anga.
This is the extent of vilambita anga. Vilambita moharaa (see moharaa)
should also be used in this anga. The appearance of the moharaa
prevents the shadow of madh or drut anga appearing in vilambita + drut
anga.
(2) Madh: This is the anga of madhalaya. Vilambita, madh, and drut
are purely relative, and there is no absolute measure of how much
variation in tempo there should be. Its amount depends on the
instrument. For example, it is not possible to play very vilambita on
rabab since its pitches do not last very long. By contrast, pitches
last longe on veena, surbaahaar, or sitaar, making slower tempos
easier to play. See swaasa.
Madh anga also has three subdivisions: madh + vilambita, madh + madh,
and madh + drut. Rhythm is suggested beginning from madh anga.
(a) Madh + vilambita: This anga is also known as ``dagara ki baarhat''
by ustaads. This is probably due to the use of the three bols da, ga,
and ra of the veena in playing this anga. This anga is begun in
madhya laya compared to vilambita anga. A slightly greater amount of
chikari work is seen in this anga, as well as a corresponding increase
in meend and sut. The 63 types of alamkaara mentioned in
Sangeetaratnaakara can also be used in this anga.
(b) Madh + madh: This anga is also called madhjor or ``baraabar ki
jor'', and the use of ``gamaka jor'' begins in this anga. In this
anga, meend and sut are used sparingly and the notes are sounded
separately. In instrumental music, most of the work is done on the
fingerbooard of the instrument. Chikari is practically unused in
playing gamaka jor, and this is sung or played in khaandaar vaanee.
Virhar vistaara is also used in this anga. See khaandaara vaanee and
jor.
(c) Madh + drut: This anga is called ``lari jor'' by some. This is
similar to madh + madh anga, but at a slightly faster tempo. Some
small tukras of paran are also sometimes used. Chikari work should be
minimal. See paran.
(3) Drut: This anga is also divided into three: drut + vilambita, drut
+ madh, drut + drut.
All the techniques of madh + drut anga are used in drut + vilambita
anga, but at a faster tempo. Chikari should not be used at all,
except for special purposes. Drut + madh and drut + drut indicate
increase in tempo.
(4) Jhaalaa: The proper rhythmic depiction of the raaga begins from
this anga. Drut + madh anga is known as jhaalaa anga. In this anga,
the swaras are played in vilambita laya but jhaalaa is played along
with it using chikari. Singers perform swaravistaara using
``taanaanaanaa'' in vilambita anga. Pakhawaja sangat may begin from
this anga, although paran is usually begun from lari anga.
(5) Thok: All angas of aalaapa beginning with this one fall into the
drut + drut category. In this anga, compound vaanees are used in
swaras and jhaalaa is played on chikari alongside. In vocal
performance, jhaalaa vaanees such as ``naanaanaanaa'' are used in
conjunction with compound vaanees such are ``dretum'' or
``kredhanne''. On instruments, jhaalaa is played along with compound
bols such as ``dredaar daar daa daaraa daaraaraaraa''. This anga
probably gets its name from the latent sense of hammering (thoka).
From this anga, the emphasis shifts from raaga and swara to bol,
rhythm etc. The plectrum (jaba, mijraab) normally even strikes the
wood of the instrument in this anga.
(6) Lari: Normally all angas beginning with this one are heard only on
instruments. All techniques starting from this anga fall under
taarparan. Bol and rhythm are predominant here; the raaga merely
serves to carry the bol.
The word lari means garland. Taking a part of a simple bol of
mridanga and expanding it in various ways is called lari. For
example, taking the two words of the bol ``dhumaakit taktak'' and
performing vistaar would produce dhumaakit taktak, tak dhumaakit-tak,
dhumaakit-tak dhumaakit-tak dhumaakit etc. On instruments, bols
having rhythmic patterns to the sounds of mridanga bols are played.
The swaravistaara is like that in vilambita + madh anga. Pakhawaj or
tabla accompaniment can start from this anga, although it usually
starts from paran anga.
(7) Larguthaao: The word gutthi means to string or sew. Just as
simple bols are used in lari anga, compound bols such as kredhaan and
kredhetete are used in this anga. Otherwise it is like lari anga.
(8) Larlapet: If sut, aash, chut etc. are used in the swara portions
of lari or larguthaao angas, it is called larlapet. Here the
swaravistaara becomes more important. Virhar work is also used more
in this anga.
(9) Paran: After the instrumentalist begins a rhythmic pattern, plays
a pakhawaj bol on the main string, comes to the sam, and plays the
pattern on the chikari, the accompanist replies with a similar bol.
This anga is also called taarparan. See paran.
(10) Saath: This is similar to paran, but in this anga both
instrumentalist and accompanist come to sam after playing paran
simultaneously (saathsangat). Usually the instrumentalist leads and
the accompanist follows, but the roles can also be reversed, depending
on personal tastes.
(11) Dhuyaa: Playing lari or larguthaao on the chikari string with
very little work on the main string is called dhuyaa.
(12) Maathaa: The process of performing lari and larguthaao
successively on the main string and the chikaari string is called
maathaa.
(13) Paramaathaa: Playing part of a paran on the main string and
completing it on the chikari string is called paramaathaa. This anga
is currently not performed.
Both saath and jabaab types of accompaniment are performed in the last
three angas. The last three angas are probably the current versions
of the words dhruva, mantha, and pratimantha mentioned in
Sangeetaratnaakara, but there is no similarity in the usage of the
words.