In an earlier article, we met Alaap as the slow introduction of a raag. In reality, there are different styles of alaap depending on the tradition (Dhrupad vs Khayal vs instrumental) and the instrument.
Nom-Tom Alaap (Dhrupad)
In Dhrupad, alaap is often sung using syllables like “Nom” and “Tom”, along with others like “re, na, ta, ri”.
- Extremely slow, often starting from the lower octave and gradually rising.
- No tabla; only tanpura and sometimes pakhawaj enters later.
- The focus is on pure intonation and the geometric architecture of the raag.
Imagine a very long, unaccompanied cello or Gregorian chant introduction, but with microtones and Indian ornamentation – that’s the mood of a good Dhrupad alaap.
Alap, Jod, and Jhala (Instrumental)
In instrumental Hindustani music (especially sitar, sarod, sarangi, bansuri), we often hear a three-part structure:
1. Alap
- Free rhythm, only drone and the solo instrument.
- Slowly introduces the notes and key phrases of the raag.
2. Jod
- A pulse is introduced, but still no tabla. The player creates a rhythmic flow using plucking/bowing patterns.
- The raag becomes more clearly structured in time; think of it as switching from free rubato to a steady groove with no drums.
3. Jhala
- Very fast, rhythmic, brilliant passages, often using repeated drone strings (like the chikari on sitar).
- Feels like a fireworks display of the raag before the tabla joins in.
This Alap–Jod–Jhala structure helps a listener travel from quiet contemplation to excited rhythmic energy, even before we reach the main composition with tabla.
Vilambit and Madhyalay Alaap (Khayal)
In Khayal concerts, the alaap is often woven into the vilambit bandish itself:
- The singer begins with slow, free-feeling phrases around the bandish, stretching notes and exploring the raag.
- As the performance moves forward, alaap becomes more rhythmic and merges with bol-baant and taans.
So, “alaap” is not one fixed thing. It is a family of techniques that all serve the same purpose: to let the raag introduce itself slowly, before the more structured rhythmic play begins.