Lecture Title VARNA AND ALANKAR

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Natalie McCarthy
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1 Course - Bachelor of Performing Arts (Music) Year - I Paper Name Theory Paper - I Paper No.- I Lecture No.- 25 Lecture Title VARNA AND ALANKAR Hello viewers, today in my this lecture, I will tell you about the two very important musical terms Varna and Alankar. I think every student of music becomes familiar with the word Alankar from the very beginning of their music learning. Once the students start taking lessons in music classes, they are made to practice Alankars every day, no matter, wether they are students of vocal or instrumental music. First, listen to some Alankars and then I will explain the term Alankar. 'Alankars' are extremely useful, for practice. In fact Varna and Alankars are steping stones for every student of music for the preparation of advanced training. Literal meaning of the word Alankar is ornament but in the context of Indian classical music, the application of Alankars is essential to embellish or enhance the inherent beauty of the genre. In the old text on Indian music, Alankars have been categorized into two broad groups Varnalankar and Shabdalankar. The former comprises the Varna based Alankars of earlier times. So let s know, what is Varna? First, I will explain the definition of Varna and then you will listen to these practically. Varna It has been mentioned in our Sanskrit texts Gankriyochyate Varnah Sa Chaturdha Nirupitah Sathayrohavrohi ch Sancharityath Lakshnam. Which means the movements or the singing exercises are referred to as Varna. These are of four kinds, which are sthayee, Arohi, Avrohi and Sanchari. Actually in the ancient Indian musical texts, these Varnas are mentioned as the arrangement of notes in a particular sequence or four kinds of movements among notes. Such as - (Demonstration)

2 While singing or playing any Raga, some times notes are repeated or halted at a single note, some times sung in upwards or downwards movements or some times movements of notes are mixed. So, It has been accepted by all the standard authors that there are four kinds of movements of notes namely 1. Sthayee 2. Arohi 3. Avrohi 4. Sanchari These are known as four kinds of Varnas. All these movements are related to the structural aspect of Raga. For the fulfillment of any Raga, these four kinds of Varna play very significant role. Hence, it is very essential to know the salient features of all kinds of Varnas in detail. The first is Sthayee Varna - The literal meaning of the word sthayee is Sthir which means firm or stable. In music while singing or playing, when a note is stable or is repeated again and again, it is known as Sthayee Varna. The function of the Sthayee Varna is to repeat the same note in a Raga again and again. Listen it is called sthayeevarna. The next is - Arohi Varna- The ascending forms of all the notes of a Raga in a systematic manner, is known as Arohi Varna. For example (Demonstration) Sa, Ri, Ga, Ma, Pa, Dha, Ni Sa - this ascending form of notes is called Arohi Varna. Avrohi Varna - Just opposite to Arohi Varna, the descending form of all the notes of the Raga is known as Avrohi Varna. For example Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa - is Avrohi Varna. Listen to it - Sanchari Varna - Sanchari is nothing but a compound mixture of all these three Varnas - Sthayee, Arohi and Avrohi in a mixed form are called Sanchari Varna. The notes of all the three afore said Varnas can be taken in this Varna, in a mixed form. For example Sa, Ri, Ga -, Ga Ga Ga Ga Ga Ga, Ma Ga Ri.

3 Sa - -, In this example Sa, Ri Ga is Arohi Varna, Ga Ga Ga Ga Ga Ga is Sthyee Varna and Ma Ga Ri Sa is Avrohi Varna. While singing any composition of a Raga, the mixture of all these notes enhance the melody. Importance of Varnas The practical performance of a Raga is incomplete without the ornamentation of the different movements of notes i.e. Varnas. While singing, all kinds of Varnas are used automatically. - (Demonstration) It never happens that in a Raga, one note is repeated only or halted at or the notes are sung in ascending order only or in the descending order only. Actually the Raga is revealed with the mixed movement of notes and these different movements enhance the beauty of a Raga. Either singing or playing on any instrument, the elaboration of a Raga is done with the different arrangements of notes or Varnas only. That is why in the Sanskrit text Abhinav Raga Mnajari, while defining Raga, it has been mentioned Yoyan Dhwani Visheshstu Swarvarnvibhushith Which means, Raga is a peculiar combination of Swar and Varnas (sound). It is obvious that in a Raga, where swar or notes occupy such a significant role, the melody depends upon the various movements of Swars i.e. Varna In a Raga Aroh and Avroh (i.e. ascending and descending order) of notes merely tell us about which and how the notes are used in a Raga but the elaboration of a Raga depends upon all the four kinds of Varanas. To sum up, we can say to reveal a Raga form, to elaborate a Raga, to express the inherent emotions of a Raga compositions and to differentiate any Raga from its alike Ragas Varnas play very significant role. In fact not even a single singing or playing movement is possible without Varnas. Alankar

4 Alankar is also another aspect of all the Varnas, which expands the Raga and beautifies it in its own way. Alankar comprises the aesthetic aspect of a Raga. Alankars are supposed to be the fundamental principles of the practical art of music, without which it is almost impossible for a beginner to acquire the art of music. In Indian music the earliest reference of the term Alankar has been found in Bharat s Natyashastra in which 33 kinds of Alankars are mentioned. In subsequent musical treatises like Sangeet Ratnakar (12 th or 13 th century) by Pt. Sharang Dev and in Sangeet Parijat (17 th century) by Pt. Ahobal have been mentioned 63 and 68 kinds of Alankars respectively. Considering the mention about Alankar in such precious musical texts, speaks about the importance of the term. So first of all we should know, what is Alankar? Alankar is such a combination of Swars (notes) and Varnas in which Aroh and Avroh (i.e. ascending and descending order of notes) are executed in a systematic manner. An Alankar comprises two parts Aroh and Avroh. For example - S R G M P D N S - this is Aroh and S N D P M G R S - this is Avroh. In an Alankar, we fix a combination of two, three, four or more notes and further all the combinations follow the same pattern in ascending order. What so ever the pattern is fixed in Aroh, exactly, the reverse is followed in its Avroh e.g. if in ascending order we sing or play Sa, Ri, Ga, Ma then the descending will be Ma, Ga, Ri, Sa. That is why, Alankars are also referred to as Palta which means reverse. There is no such rule regarding the number of notes in one combination of Alankar, it is solely on the necessity and discretion of the practitioner to form the combination of notes of any number or in any manner. On the basis of such characteristics Alankars may be defined as the combination of notes following a certain pattern in its ascending and descending order. In Sanskrit text Sangeet Ratnakar (12 th or 13 th century) by Pt. Sharang Dev, Alankar has been defined as Vishishtvarn Sandharbhalankar Prachkshte

5 Which too means that a combination of Varanas or notes which follow a certain pattern, is known as Alankar. Now listen to some Alankars (Demonstration) 1 S R G M P D N S S N D P M G R S 2 S S, R R, G G, M M, P P, D D, N N, S S S S, N N, D D, P P, M M, G G, R R, S S 3 S S S S, R R R R, G G G G, M M M M S S S S, N N N N, D D D D, P P P P. 4 SRGG, RGMM, GMPP, MPDD.. SNDD, NDPP, DPMM, PMGG. All the Alankars that have been sung are set in Teental (a rhythmic cycle of 16 beats) Similarly Alankars may be set in different Tala or rhythmic cycles for advance practice. The Alankar which may be set in Dadra Tal or Ektal. Listen - SRG, RGM, or SRG-GRS, RGM-MGR. Such like Alankars will be useful in singing or playing Layakaris of Tigun (three time) and Chhgun (six times) while elaborating any Raga or singing Taans or playing Toras in these Layakaris. Similarly practice of Alankars set in Jhaptal (a rhythmic cycle of ten beats) will be very helpful in Layakaris of Paanchgun (Five times) while singing or playing. Now you can listen an Alankar, which is set in Jhaptal. S R S R G, R G R G M, G M G M P On the same pattern Alankars may be set in Rupak Tala, which is a rhythmic cycle of seven beats. Further it will make the Layakaris of Saatgun

6 (seven times) easier while elaborating the Ragas. You can listen an Alankar which is set in Rupak Tala. SRG SRGM, RGM RGMP, GMPGMPD Alankars may vary for the practice of vocal or instrumental and that too for the practice of different instruments. Alankars which I have mentioned are of Shuddha Swar and are set in different Talas. Similarly Alankars can be composed in Vikrit Swar or even in different Ragas also. Significance of Alankars Alankars are supposed to be the fundamental principles for the practice of music. In Abhinav Raga Manjari, Alankars have been lauded as Shashina Rhitev Nisha Vijlev Nadi Lata Vipushpev Avibhushitev kanta Geetalankarheena Syat Which means as the night without moon, stream without water, creeper without flowers and a woman without ornaments does not find appreciation, Similarly a Geet or a song is not lauded without Alankars. The literal meaning of Alankar too is ornaments. As the ornaments add the beauty to a woman, so is the function of Alankar in Indian music. In the context of Indian classical music, the application of Alankar is essential to enhance the beauty of the composition. Thus, the usefulness of Alankars have been measured in many ways. Let s know about this v Alankar refers to the sound production technique, produced by either the human voice or an instrument. v The regular practice of Alankar cultures the voice and thus the singing becomes melodious. The same may be said in case of instrumental music. v The practice of Alankars enhance the knowledge of Swar and Laya i.e. note and rhythm. v It develops the creating capability of the performers which helps in Uppaj or creation or creating ability.

7 v It is useful in composing Alaps and Taans while elaborating a Raga. v The maximum practice of Alankars enhance the beauty of a Raga while singing or playing. In fact, this is the main objective of the Alankars. Considering such a significance of Alankars, the students of music should be guided to make it a regular practice or we can say, it is essential for every student of music to practice the Alankars everyday. In the initial stage, the students can practice Alankars based on Shudha Swar i.e. full tone notes and subsequently they can ahead towards Alankars using Vikrit Swar (flat or sharp notes). Thus, we can say that Varna and Alankars are most important for practice. The usefulness of Alankars to every students of music is beyond limits. It cannot be expressed in few words but is definitely revealed in practice or performance of a Raga.

IndianRaga Certification

IndianRaga Certification Hindustani Instrumental Syllabus: Levels 1 to 4 Level 1 Overview: The aim of this level is for the student to develop a basic sense of Swara (Note) and Taal (Rhythm) so that he/she