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)
 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.
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
 ‘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’ (12th or 13th century) by Pt. Sharang Dev and in ‘Sangeet Parijat’
(17th 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’ (12th or 13th century) by
Pt. Sharang Dev, Alankar has been defined as –
Vishishtvarn Sandharbhalankar Prachkshte
 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’
(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.
 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.