G C S E M U S I C – R H Y T H M S O F T H E W O R L D – I N D I A N C L A S S I C A L M U S I C S P 3

FOLLOWING A SCORE
OF AN ALAP SECTION
OF A RAGA
Learning Objective
Explore the alap section of an Indian raga in terms of key musical features and elements.

© W W W . M U S I C A L C O N T E X T S , C O . U K
G C S E M U S I C – R H Y T H M S O F T H E W O R L D – I N D I A N C L A S S I C A L M U S I C S P 3

FOLLOWING A SCORE
OF AN ALAP SECTION
OF A RAGA
Learning Objective
Explore the alap section of an Indian raga in terms of key musical features and elements.

Resources:
ROTWICMSP3 – Following a score of an alap section of a raga (Page 1)
ROTWICMA6 - Raga Madhmad Sarang, alap, Veena Sahasrabuddhe (voice)
Veena Sahasrabuddhe, Raga Madhmad Sarang and Bhajan Navras

Time Guidance – 10-15 minutes

On page 1 there is a score, in the form of a transcription of the vocal melody of the alap section of
Raga Madhmad Sarang. Before listening to a recording, spend a few moments asking pupils the
following questions:

 Why do they think there is no time signature or bar lines? (the alap section is in free
rhythm and unmetred)
 What do they think the small numbers represent at the start of each stave? (timings in
minutes and seconds)
 What do they think the small apostrophe’s represent above the staves? (breath
markings for the singer signifying each new phrase)
 What do they think the different lines (horizontal and diagonal) mean? (horizontal lines
show sustained notes, diagonal lines show “sliding” movements between different pitches)

Next, play ROTWICMA6 and ask pupils to listen out for how the singer is accompanied by a
DRONE performed on the TANPURA, together with a HARMONIUM which shadows the melody
being performed. Ask pupils to focus on the B flat drone note, by humming this and then circling
on the score the times at which the singer and drone note come together (Although at the very
beginning of this alap section, the emphasis is not on the B flat, after it first occurs, at about 49
seconds, in the middle of line 3 on the score, the voice often comes to rest on this pitch. There
are two noticeable examples on line 5 and one on line 6 where the voice rests on a B flat, as well
as some others, later on in the piece.

Explain to pupils that this B flat becomes the TONAL CENTRE or SYSTEM TONIC of the entire
piece and is the first note of the raga (or scale) upon which Raga Madhmad Sarang is constructed.

Next, listen again to Raga Madhmad Sarang from ROTWICMA6, this time following the score
closely to see how the melody is performed with ORNAMENTS (flourishes that ‘decorate’ the
melody) and GLISSANDOS (glides between notes of different pitches). This is shown on the
score by groups of small note heads and ascending and descending straight lines. Ornaments
and glissandos are essential to the aesthetics of Indian classical music and are fundamental to the
way the musician develops and performs the melody.

© W W W . M U S I C A L C O N T E X T S , C O . U K