As is well-known, recitals of plucking instruments normally cover 4 stages viz.
1) Alap, 2) Jod Kam, 3) Gat / taans, 4) Jhala.
Usually vocal music in Khyal form renders alap along with theka, whilst
instrumentalists by and large, follow the Dhrupad structure where alap is
executed without any accompaniment on pakhawaj / tabla. Thus, in the alap
stage, Dhrupad and a large section of instrumentalists play alap and jod without
rhythmic accompaniment.
By and large instrumental music follows alap Silsila with inspiration from
different Gharanas of vocal music. Our Gharana follows Kirana Gharana
concept of alap development. The Silsila or system of alap in this approach has
various important features / techniques, which play a significant role in unfolding
a raga in a systematic manner. These are as follows.
1) Develop Sa as a foundation (zamin) of the raga structure. It is from Sa
that the entire raga structure is developed / built.
2) Subject building – once the alap unfolding covers 3 or more notes, the
musician has the opportunity to introduce the technique of subject building.
3) Substantial use of murkis in the melodic structure believed to be derived
from the techniques used by sarangi players.
4) System of introducing an additional note within the raga swarup whilst
unfolding the raga is undertaken according to special rules.
5) Whilst building melodic centers during the unfoldment of the raga, the
technique of volume variation according to importance of the note is
undertaken. The importance of each note is described as Balwan, Saman,
Durbal.
Q21
Silsila or System of Rendering Alap
Thanks Guru Ji, regarding point – 3 (Substantial use of murkis) : In the Gaud
Sarang rendition of UVK in UEK style – there was hardly any murki played –
which you have referred as the best instrumental piece heard till date. Please
enlighten.
UVK was demonstrating Enayet Khansaheb’s style. It was later that UVK
introduced gayaki ang that murkis were frequently used ( Khayal style). In fact
UVK followed Gaud Sarang piece by playing according to his own style- same
raga. He comented that UEK ‘s style was so sidha – so sidha that he could not
adopt it and created his own version. Further UEK also used one simple murki
as allowed in Dhrupad. eg. in Goud Sarang he uses a short murki while coming
down from Dhaivat to Madhyam. What I described is our present style of Alap
which uses murkis as decorative elements appropriately. Don’t forget that it was
UVK who was demonstrating UEK’s style which is why I said that it was the best
music piece I ever heard. Also don’t forget that as per UVK’s own statement, he
had moulded my approach (Bhakti Margi) according to UEK’s vision.
Pranam Guru Ji – Thanks for further clarification on this.
Which one I should keep as role model – UEK’s “sidha” approach or UVK’s
comparatively complex approach.
I am requesting further clarification on this as my playing is often referred as
1. “Aggressive”
2. Lacking ‘Bhav’ and ‘Chain’
3. Need to be “Sanyasi” rather than “Miya Bhai”
Etc.
I am trying my best to change my own approach accordingly to avoid this.
Kindly enlighten
To start with, I don’t agree with UVK’s statement that he could not manage to
play according to his father’s style. I had ( in the diologue) argued that he
developed his own medium as a part of evolutionary process. In response he
said Han tum wo bhi kahe sakte ho. Hence we are all of V. Khani Parivar follow
his talim/ style- with modifications according to one’s aptitude. I am not playing
as per UEK’s style. I am playing according to talim following UVK’s approach
with modifications as per my aptitude. I am not playing according to UEK ‘s style
but according to his approach to music. You are following UVK’s style
completely. I had strongly advised you not to change your present vision but
supplement elements which may make your recitals enjoyable to all sections of
listeners. Re: speed of alap I had suggested to play it with tension free mind –
but- but only if you prefer slowing down the speed. I had also said that I don’t
believe in convincing students or forcing them to change if their aptitude is
different. To repeat my advice , I would recommend that you should introduce
an element of serenity in your playing. e.g. play jod string after chicary between
phrases. There are some small but relevant additions/ changes which we can
discuss during Skype talim sessions. Don’t change UVK’s style which we are
all following with modifications. You have followed it perfectly and appropriately.
A slight change is what is required and no aggressive worries.