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Learn and lis;ten how to perform raga alaap. View alaap performance with notations. Free Harmonium lessons. Sargam e.books available with raga notations. Performing raga alaap and listen raaga bols. How to perform raaga
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composition is for the singer to set the scene for the composition itself. In order to tell a story emotionally, the storyteller is required to set the scene for the listener. The alaap prepares the listener to receive the emotions from the singer. Suspense is also being built up through the alaap for the listener. In other words, alap is the beginning part of the raga, starts with the key note of the mode it uses, that is Sa, both in the instrumental and vocal pieces. The tempo at the beginning is usually slow in order to show the scale and the key structure of the melody. There is no drum in this section; if it is a piece of vocal music, there are no lyrics with it. The asthayee is the first part of the main melodies in the raga. It consists of two music phrases, and is the most important part that shows the ragas main musical ideas. In vocal music, this part always comes with lyrics. Antra, which originally meant the rhyme of the poem, it can also be translated as stanza". The length and times of improvisations mainly depend on the feelings of the performers. The gradual exposition of Raga emphasizing Vaadi, Samvaadi and other salient features of the raga in a slow tempo is known as Alaap. Alaap reflects the depth, the temperament, creativity and training of the musician. The tala is the part located in the latter part of the raga. It is played by tabla drum solo to show the different rhythms and techniques of the drum performance.
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Making of an Alaap
The laws governing the performance of vocal and instrumental music are much the same. The purpose of including an alaap in a composition is for the singer to set the scene for the composition itself. In order to tell a story, the storyteller is required to set the scene for the listener, the point being to engage the listener emotionally and mentally to listen to their story. The alaap also serves this purpose; to prepare the listener to receive the emotions and the story from the singer. Suspense is also being built up through the alaap for the listener. In order to create an alaap it is essential to distinguish what raga is to be performed. Every raga is unique and has its own characteristics. First of all it is crucial to know which notes are allowed to be used: Arohi ascending notes Amrohi descending notes
In brief in all alaap compositions, Sa of madh saptak is considered to be a very important note and therefore must be established reasonably quickly. Sa cant be directly established and has to be approached from either the vadi or samvadi. The vivadi is also an important note that must be used but too much emphasis on this note will change the raga. In alaap, the musician improvises each note gradually. Beginning with the lower octave and in a slow tempo. The alaap is sung in the beginning of the raga at the time of a performance. When the musician starts rendering a bada khayal or chotaa khayaal (bandish) the tabla or any other percussion instrument joins. Alaap is used again with the composition, some time with the rhythm and is slightly faster. Some times the words of the song are also improvised with notes. This is known as bol alaap. This process of establishing the important notes and thus revealing the raga step by step is known as a barat. Finally the alaap must end on the most important note in all ragas, that is the madh saptak Sa. Alaap is usually sung in Aakaar i.e. without pronouncing any syllables only using the sound "aa" of the vowel. Sometimes syllables like teri, Nom, Tom are also used for singing the alaap. Vilambit alaap presented in sections from low notes to high.
Raga Yaman
http://www.ragatracks.com/alaap.htm
10/22/2011
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Arohi S R G, R G M, G M P, M P D, P D N, D N S', Amrohi S' N D, N D P, D P M, P M G, M G R, G R S, Fingering Yaman Arohi: S = Finger 1, R = Finger 2, G = Finger 3 R = Finger 1, G = Thumb, M = Finger 1 G = Thumb, M = Finger 1, P = Finger 2 M = Thumb, P = Finger 1, D = Finger 2 P = Finger 1, D = Finger 2, N = Finger 3 D = Finger 1, N = Thumb, S' = Finger 1
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Here we have shown arohi notes (ascending notes) and amroi notes (descending notes) of madh saptak. In raga yaman kalyan there are seven notes in ascending and seven notes in descending. First note Ni belongs to mandar saptak and our allaap will begin from mandar saptak note 'N. In the following diagrams we have shown note 'N in mandar saptak and our alaap starting point.
http://www.ragatracks.com/alaap.htm
10/22/2011
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Mandar or left octave Note shown as ('S) - Madh or middle octave as (S) - Taar or right octave (S') Arohi: 'N R G M D N S' Amrohi: S' N D P M G m G R S
Alap 2: a. 'N R G M P - , M D N D P - , M D N S' - , S' N D P - , N D P - , M G - , R G - , R S b. G M' D N S' - , N R. S' - , S' N D P - , M D N S Alap 3: a. M D N R S' - , N R G - R S' - , S' N D P - , M' D N - , M D N R S' b. G M D N R. S' - , N R G - , R S - , N R M G R G R S' - , S' N D P - , M D N S' Raga Lessons | Previous Page | Page 1 of 6 | Next Page Goto Page: 1 2 3 4 5 6
How to perform raga alaap. View alaap performance with notations. Free Harmonium lessons. Sargam e.books available with
http://www.ragatracks.com/alaap.htm
10/22/2011