(post by Madhavi Ramkumar)
Raga alapana
or elaboration of ragas is a key component of manodharma or improvisation, one
of the most important elements of Carnatic music. Expansion of a unique melody, based on the notes prescribed and ornamented by the gamakas or oscillations and
distinct phrases as ordained by tradition, is not confined to a set tune, lyrics
or rhythm, is free flowing, and generally uses the syllables ta, da, ri and na.
Why these
syllables are used to the exclusion of others is a question that intrigues many
students of music. Perhaps these are the easiest to articulate in musical terms,
ta (त), da (द) and na (न) falling in the category of ‘dantya’ (दन्त्य) or dental consonants in accordance
with the ‘sthana’ (स्थान) or points of articulation. The ‘antahstha’ (अन्तःस्थ) or semivowel syllable ra (र) is classified as ‘murdhanya’ (मूर्धन्य),
and variously described as retroflex or alveolar. In all these the
syllables are produced by the tongue touching, in different ways, the front
part of the hard palate or the teeth.
Any
practising vocalist will testify that they lend themselves more easily to
musical expression than, for instance, ‘kanthya’ (कण्ठ्य) or guttural consonants such as ka (क) and ga (ग) and ‘taalavya’ (तालव्य) or palatal ones such as cha (च) and ja (ज), and ‘oshthya’ (ओष्ठ्य) or labial sounds such as pa (प) and va (व). Eschewing the more difficult
consonants such as tha (थ) and dha (ध) also appears to be the most logical and convenient of options
available to a musician, a fine example of the empirical thought processes
behind many of our customs.
Why these
syllables should be used at all for raga alapana is another question that
engages the attention of musicians and connoisseurs alike. Would a plain
‘akaara’ be as effective in communicating the essence of the raga? In the
absence of a set sahitya to punctuate and anchor the melody, the syllables, it
would seem, serve a very significant purpose. They impart structure, definition
and contour to the phrases employed in the exercise, and without them the
elaboration, however melodious and skillful, may seem insipid and characterless.
The most
effective and aesthetic deployment of the syllables is acquired through
practice and experience. Too many in close proximity and too few of them far
apart would create a negative impact. A beautifully etched and shaded raga
alapana requires not only great
artistry, technical expertise and an understanding of swaras and gamakas but
also the ability to use the syllables in the most pleasing and artistic manner
possible.
(c) Madhavi Ramkumar
