Students are already aware of the technical aspect of merukhand viz. possible permutations and combinations of seven basic notes of an octave. We are aware that the number of combinations could be as follows.
No. of notes – Combinations
1 – 1
2 – 2
3 – 6
4 – 24
5 – 120
6 – 720
7 – 5040
| e.g. for 3 notes | e.g. for 4 notes | |||
|---|---|---|---|---|
| सा रे ग | सा रे ग म | सा रे म ग | सा ग म रे | रे ग म सा |
| रे सा ग | रे सा ग म | रे सा म ग | ग सा म रे | ग रे म सा |
| सा ग रे | सा ग रे म | सा म रे ग | सा म ग रे | रे म ग सा |
| ग सा रे | ग सा रे म | म सा रे ग | म सा ग रे | म रे ग सा |
| रे ग सा | रे ग सा म | रे म सा ग | ग म सा रे | ग म रे सा |
| ग रे सा | ग रे सा म | म रे सा ग | म ग सा रे | म ग रे सा |
It is essential to understand that the concept of merukhand as above cannot be mechanically utilized for developing alap. Hence, only the concept of permutations and combinations could suitably (melodically) be used in developing alap (especially in Kirana gharana style), in the following manner.
As explained earlier, to start with, one has to establish the zamin (foundation) of Sa – hence short / brief melodic phrases could be introduced ending on Sa. It is evident that we are not building a design / subject and hence the melodic movements should cover short phrases within the confines of raga swaroop.
Once the foundation has been established and raga vistar has started, the concept of merukhand could be utilized gainfully in the initial stages of alap, e.g. from Sa to lower octave Pa. The melodic movements could be guided by starting with Sa and reaching the lower Pa with an appropriate movement. The next could be, moving from lower Pa to Sa, the musical journey being guided by raga swaroop and suitable designs, which are musically appealing. This approach can be carried out a few times, after which the resting point would be the lower Pa.
Now starts the journey of subject building. The concept for subject building comprises of a melodic movement with a short phrase ending at a melodic centre, in keeping with the stage at which the alap has been unfolded. (Students have already been explained that, during alap, the stages of development must ensure that the melodic movements end at a melodic centre depending upon the stage of development). The melodic movements must be so designed as to give different combinations – not mechanical like merukhand but musically appealing and forming grammatically appropriate musical movements ending with the contemplated subject.
In this manner, we reach the upper Sa, after developing melodic movements through subject building on each melodic centre of the concerned raga. It is essential to note that to return to the basic Sa after developing treated melodic movements ending with upper Sa, the approach should be silsila based (methodical) to return step by step to the basic Sa from where the alap had in reality started (the wapsi or return).
After the basic alap is completed, there will be two stages of development viz. sanchari and abhog. As we are dealing with the role of merukhand, I do not think it has any role to play in these two developments.
Whilst ensuring that various melodic movements in all the above mentioned expositions would be subject to several permutations and combinations, the execution could be made more effective by following the tenets of adding novelty in the following manner.
a) Volume variation
b) Speed variation
c) Using concept of gaps
d) Selective use of decorative elements like murkis etc.
and lastly
e) Unexpected phraseology.