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Introduction
Introduction
All forms of music that exist today uses some form of decoration which we call musical ornaments or embellishments. Each aspect Sangeet, be it vocal, instrumental or dance and its constituents such as Swar, Taal, Laya, Words, use certain decorative elements to make it more attractive to the audience.
Broadly we can use the following ways to ornament sound, applied individually or in combination
Repetition of Swar
Groupings of Swar
In ascent
In descent
In ascent and descent or otherwise
Skipping of notes
Use of Meter
Voice modulation (Kaaku)
Of volume
Timbre
Mouth positions
Use of Octave
Accentuation
Stress on Swar
rendering distinctly
rendering without individual stressing on individual Swars
Time on each Swar
Singing in one breath or playing in one stroke or bow
We find early references of use of Ornamentation in Sama Veda. Sama Vikaar was known the changes done to the Rik matras to give it a musical nature. Sama Veda was using in musical Swar and employed ornamentation like Atikram (skipping of notes), Roh (Aroh or ascent), Garshan (Meend or glide), Udghat (Ahat Gamak), Atyutkram (Alankaar or Murkis), Parv (singing in one breath), Samprasanna (small Taan).
Historically, the term used for ornamentation of Swar was 'Alankaran' which means means decoration, garnishing, enhancement, enrichment, adornment and beautification.
Music which was performed for entertainment necessarily needed to be attractive with the use of musical ornaments or Alankaran. According to Late Dr Bimal Roy (Musicologist from the Qawwal Baccha Gharana), "There is much confusion in the use of the words 'Alankaran' and 'Alankaar'. The term Alankaran means ornamentation or embellishment, and is what is wrongly referred to today as alankaar. The true and original meaning of alankaar is a specific group of notes or a group of varnas.
Ancient texts also glorify the use of musical ornaments. Bharat Muni says in Natya Shastra: "A Melody with Alankaar is similar to a night without the moon, a plant without flower or a lady without her jewels".
Matang Muni says in Brihaddeshi: "Just as dress and other paraphernalia add to one’s appearance, Alankaar enhances the beauty of music".
While any melody can use any form Alankaar, Raga Sangeet in particular depends on the correct use of various types of Alankaar, to bring out the characteristic flavour and mood of the Raga. Without them, singing the swars of a Raga would just be mechanical and will not evoke any feeling in the listener. This aspect of correct usage of Alankaar can only be learnt from a Guru by a student of music.
Our Ancient texts or shastras describe many musical ornaments, many of which are still used today. The actual use of these ornaments are best learnt from a Guru as it is specific to a Raga and genre of Indian Classical Music.
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