Q48

Pranam Guruji. I will be grateful for your kind explanation about the pace of alap in our gharana (today). Does it depend upon the personality of the raga / personality of the player / gharana specific/ all the above? Would be great if you can give some examples please. Thank you. Warmest regards.

Dear Suvarna,
In response to your query dated 25th August referring to pace of alap, I would like to
advise as follows.
1) A musician prefers to project / execute his musical expressions essentially
depending upon his own aptitude. (I am a bhakti margi and hence prefer an inward
looking slow pace of alap)
2) The aptitude of a person depends upon several factors, some of which are:
a) Family Culture – a child absorbs culture of the family and develops an aptitude
in keeping with what he has inherited.
b) A person is influenced by his environmental factors apart from his own family.
One is affected by friends, educational institutes where the person is studying and
exposed to many influences, listening to difference kinds of music (great exposure to
YouTube) etc.
c) One develops a temperament depending upon which community he is born in.
Different communities have different mental approaches to life and the child therefore
is influenced by the same.
d) It is well-known that with advancing age one develops a maturity over a period.
This process results into different aptitudes at different stages of one’s life.
e) We all believe that a musician is not “made” in one lifetime and hence one’s
aptitude depends also on the musical baggage which one carries from previous life/s
3) It is true to say that the pace of alap – infact the entire presentation is related
to the rasabhav of that raga. Hence the pace or even the length of the alap in ragas
like malkauns, todi, bhairav etc. would be much slower than the similar execution in
ragas like shankara, hansadhwani, bahar etc.
4) Guru’s Talim – It is not unusual to change one’s approach to music based on
the Talim he has received from his Guru. Over a period of time the shagird is
influenced through regular Talim sessions on lines of approach of his Guru for whom
he has tremendous respect and devotion. Thus aptitude changes which results into
preferred pace of alap.
5) Financial constraints – It is well-known that “classical” music has become
“massical” music as a result of which, the musician is constrained to adapt
presentations to suit common public preference. Though his recitals for certain
audience may project introspective approach, on several occasions, the pace of the
entire presentation (including alap) is more related to the popular taste.

6) As a corollary of the above, influence of fusion – popular – exciting – thrilling
music results into “entertainment” which public at large these days require.
Opportunities to play authentic or undiluted music in today’s world of massical music
are becoming difficult as opportunities for popular music are far in excess of
opportunities to present pure classical music.
With best regards,
ARVIND PARIKH