What is the form of Alapana in Karnataka Sangeet?

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Yajmir
Posts: 12
Joined: 01 Sep 2017, 13:01

What is the form of Alapana in Karnataka Sangeet?

Post by Yajmir »

In Hindustani Shastriya Sangeet an Alap has the form of Sthayi, Antara, Sanchari and Abhog. Is there similar form in Karnataka Sangeet? Please explain if there is certain form.

vidya raja
Posts: 130
Joined: 05 Feb 2010, 21:02

Re: What is the form of Alapana in Karnataka Sangeet?

Post by vidya raja »

The stages in Carnatic alaapana are, Akshiptika, raga vardhini, vidari,sthayi,vardhani and muktayi .
You can refer details in the following link article

http://srutimag.blogspot.in/2012/08/tod ... art-1.html. Approx 8th para

srini_pichumani
Posts: 78
Joined: 24 May 2006, 11:29

Re: What is the form of Alapana in Karnataka Sangeet?

Post by srini_pichumani »

Hi Yajmir,

If I am not mistaken, the form you outlined has to do with how (baDaa) khyAl is developed with or without all stages mentioned. The Alaap that precedes the khyAl in this case is usually a short introduction or "aucAr".

The Alapana in Karnatic music also has multiple stages -- described in the texts as Aks'iptika, rAga vardhanI, sthAyi, vartanI/makarinI etc. In essence, a (hopefully, succinct yet wholistic) introduction followed by elaboration through different vocal registers, and a conclusion with the appropriate filigree leading back to rest !

Normally, all these stages are formally presented in the alapana portion of a raagam-taanam-pallavi.. at other times, preceding a regular composition too. And in many cases, it is jumbled up -- tastefully based on aesthetic preference, or in a slapdash manner due to inexperience.

Best regards,
-Srini.

Sachi_R
Posts: 2174
Joined: 31 Jan 2017, 20:20

Re: What is the form of Alapana in Karnataka Sangeet?

Post by Sachi_R »

For everyone’s benefit, I am reproducing that part of the srutimag blogpost by Dr Vedavalli:
Especially in the creative dimension, we need to understand the rules and stages of raga improvisation or ragavistara.
Image
Authors of musical treatises like Sarangadeva and Govinda Dikshita have laid down a scheme consisting of six parts for raga vistara.

These are akshiptika, ragavardhani, vidari, thaya or sthayi, vardhani and nyasa or muktayi. This scheme is not being followed diligently today.

Akshiptika is the initial preparatory stage of the alapana when the chosen raga is unambiguously introduced by its characteristic phrases.


Next the raga is unraveled in ragavardhani. It is this stage that yields most to elaboration in three speeds. The number of sangatis or phrases sung in different kalas need to be proportionate and utmost care needs to be taken in maintaining the intrinsic tempo or kalapramana of the raga. The lower kala sangatis include long karvais or longish extensions of notes. The sangatis do not follow each other in the order of the speeds they are sung in. They are normally rendered combining all the three speeds. However in vilamba kala, the phrases are predominantly in the lower speed and respectively so in madhyama and durita kalas.

Ragavardhani is followed by vidari which is sung in the madhya sthayi.

Then comes sthayi which is a gradual note-by-note build-up in the upper octave. In this phase the musician attempts to reach as high as it is comfortably possible in the tara sthayi, However it is not mandatory to reach the panchama. A voice that easily manoeuvres the tara sthayi is called a sthayi sarira.

Sthayi comes from the root “stha” - sthapita, to establish or to create a base. It is said that musicians of the early 20th century, when performing a pallavi would sing niraval for the pallavi, first in its original sthayi and then create a base again in the tara sthayi to elaborate it further in the upper octave. Even in tanam singing, there was a practice of using the upper shadja as a base, a sthayi, and creating numerous madhyama kala sangatis in akara around it. This practice could be seen especially among the nagasvara vidwans.

Finally we come to the muktayi, where elaboration in the mandra sthayi leads to a grand ending of the alapana.

The raga vistara paddhati serves as a guideline that gives us possibilities rather than rules. Musicians of the past have used this paddhati to great effect.
I find this a comprehensive description of a musical process that leaves a lasting impression on the listener. To my mind, this process is akin to a great painting being done first with a rough sketch, then the adding of colours, highlights, details, a kind of a central theme that is core to the painting being communicated, some finishing touches, and a grand rounding up.

Of course interpreting time in terms of space is taboo in some ways 😀

Yajmir
Posts: 12
Joined: 01 Sep 2017, 13:01

Re: What is the form of Alapana in Karnataka Sangeet?

Post by Yajmir »

Thanks for the answers everyone :D One more question. Is there a concept of Badhat in Karnataka sangeet, like gradual note by note elaboration in the Alapana?

narayara000
Posts: 308
Joined: 13 Jul 2015, 06:59

Re: What is the form of Alapana in Karnataka Sangeet?

Post by narayara000 »

Usually longer alapanas have gradual note by note elaboration, while shorter alapanas just focus on the key phrases of the raga. However, some musicians (as TMK points out in his Manodharma lec Dem) don't do note by note elaboration even for long alapanas

MadhavRayaprolu
Posts: 63
Joined: 18 Jan 2018, 13:04

Re: What is the form of Alapana in Karnataka Sangeet?

Post by MadhavRayaprolu »

I am interested in the raga formats that are typically taught to students. Do people really do note by note exposition or the 5 stages of alapana described above? Or is it completely free format of sangathis ordered subjectively? Or are there other guidelines to progress the alapana?

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