Alankar in Music

Alankar (also spelled Alankaar; अलंकार) means a musical ornament or pattern. In Hindustani music, it commonly describes organised swara exercises. Carnatic Alankaram combines swara patterns with different talas.

The word alankar means decoration or ornament. It describes something that adds beauty, skill or structure to music.

However, Alankar and Alankaram do not always mean exactly the same thing. Their meaning changes across Hindustani classical music and Carnatic music.

What Is Alankar in Music?

Alankar in music is an organised arrangement of swaras. The notes usually follow a clear pattern while moving upwards and downwards.

A simple Alankar may begin like this:

Aroh: Sa Re Ga Ma | Re Ga Ma Pa | Ga Ma Pa Dha
Avaroh: Sa Ni Dha Pa | Ni Dha Pa Ma | Dha Pa Ma Ga

Learners sing or play the same pattern across the full scale. This develops control over notes, rhythm and movement.

The term also has a wider meaning. In Indian music theory, an alankar can be an ornament that beautifies a melody.

Techniques such as meend, kan swar and gamak may therefore be called melodic alankars. These should not be confused with beginner swara exercises.

What Is the Difference Between Alankar and Alankaram?

The two words share the same Sanskrit origin. Their common classroom meanings are different.

A Hindustani teacher may ask a learner to practise many original Alankar patterns.

A Carnatic teacher may use “Alankaram” for seven structured exercises based on the Sapta Talas.

These terms can vary between schools and teachers. Learners should follow their teacher’s notation and pronunciation.

Why Is Alankar Important in Music?

• Improves swara accuracy – Learners practise reaching each note clearly and correctly.
• Trains the voice – Repeated patterns improve vocal control, range and flexibility.
• Builds rhythm – Singing with a steady beat develops a stronger sense of timing.
• Strengthens memory – Learners remember longer musical patterns without depending on notation.
• Supports raga learning – Swara control makes later raga phrases easier to understand.
• Develops coordination – Instrument players connect finger movement with sound and rhythm.

Alankar practice is like a warm-up in sport. It prepares the mind, voice and hands for more complex music.

Common Types of Hindustani Alankar

There is no universally fixed list of Hindustani Alankars. Teachers create patterns based on a learner’s level and needs.

The following groups are commonly used for practice.

1. Straight or Shuddha Alankar

This pattern moves through neighbouring swaras in a simple order.

Aroh: Sa Re Ga Ma | Re Ga Ma Pa | Ga Ma Pa Dha
Avaroh: Sa Ni Dha Pa | Ni Dha Pa Ma | Dha Pa Ma Ga

It helps beginners understand the direction of the scale.

2. Repeated-Swara Alankar

Each swara appears more than once.

Aroh: Sa Sa Re Re | Ga Ga Ma Ma | Pa Pa Dha Dha
Avaroh: Sa Sa Ni Ni | Dha Dha Pa Pa | Ma Ma Ga Ga

This exercise improves breath control and note stability.

3. Expanding Alankar

The pattern gradually adds more swaras.

Aroh: Sa Re | Sa Re Ga | Sa Re Ga Ma
Avaroh: Sa Ni | Sa Ni Dha | Sa Ni Dha Pa

Learners must remember the growing phrase while maintaining accurate pitch.

4. Skipping-Swara Alankar

This pattern jumps over one or more swaras.

Aroh: Sa Ga | Re Ma | Ga Pa | Ma Dha
Avaroh: Sa Dha | Ni Pa | Dha Ma | Pa Ga

It develops control over wider pitch movements.

5. Vakra Alankar

Vakra means curved or indirect. The pattern changes direction instead of moving straight.

Aroh: Sa Re Ga Re | Re Ga Ma Ga | Ga Ma Pa Ma
Avaroh: Sa Ni Dha Ni | Ni Dha Pa Dha | Dha Pa Ma Pa

Vakra patterns prepare learners for ragas with turning movements.

6. Merukhand-Style Pattern

The same group of swaras appears in different orders.

For Sa, Re and Ga:

Sa Re Ga | Sa Ga Re | Re Sa Ga | Re Ga Sa | Ga Sa Re | Ga Re Sa

These patterns build concentration and swara awareness. Beginners should learn them slowly.

The Seven Alankarams in Carnatic Music

Carnatic Alankarams are structured swara exercises set to the seven principal talas.

They help learners connect melody with rhythm. Students usually learn them after Sarali Varisai, Janta Varisai and other early exercises.

The Alankarams are commonly practised in Mayamalavagowla. Teachers may later use other ragas.

University music syllabi also include Sapta Tala Alankarams in different speeds. Kannur University lists these exercises with three-speed and akara practice.

The three main tala parts used here are:

• Laghu: One clap followed by finger counts
• Dhrutam: One clap followed by a wave
• Anudhrutam: One clap only

The National Institute of Open Schooling also identifies laghu, dhrutam and anudhrutam as the angas used in Sapta Tala Alankarams.

Why Are There Seven Carnatic Alankarams?

Each Alankaram introduces a different rhythmic structure. Together, they help students practise the seven principal tala families.

These are called the Sapta Talas:

1. Dhruva
2. Matya
3. Rupaka
4. Jhampa
5. Triputa
6. Ata
7. Eka

The seven Alankarams are not the complete Carnatic tala system.

Each tala can use different jatis for its laghu. Combining seven talas with five jatis creates 35 tala forms.

Beginner Alankarams use selected tala and jati combinations. They do not cover all 35 possibilities.

Alankar as Musical Ornamentation

Alankar can also mean a technique that decorates a note or phrase.

These ornaments give Indian music its flowing and expressive character.

Meend

Meend is a smooth glide between two notes. The voice or instrument travels through the space between them.

Kan Swar

Kan swar is a brief grace note. It is touched quickly before or after the main swara.

Gamak

Gamak is a forceful or controlled oscillation around a swara. Its exact movement depends on the raga and tradition.

Murki

Murki is a quick group of light notes. It adds movement without interrupting the phrase.

Andolan

Andolan is a slow oscillation around a note. It is often used on important swaras in certain ragas.

These ornaments should be learnt from a trained teacher. The same ornament may sound different across ragas.

How to Practise Hindustani Alankar

For Beginners at Home

1. Set a tanpura app to a comfortable pitch.
2. Sing Sa–Pa–Sa and check each note carefully.
3. Choose one four-note Alankar pattern.
4. Practise it slowly for five minutes.
5. Sing the pattern in aroh and avaroh.
6. Increase the speed only after ten clean rounds.

Avoid singing loudly. A relaxed and steady voice is more useful than volume.

For Singers

1. Begin with a clear aakar sound.
2. Practise the pattern using sargam.
3. Repeat it using “aa” without naming the swaras.
4. Use one breath for each short phrase.
5. Move through lower, middle and upper registers gradually.

Stop if the throat feels tight or tired.

For Instrument Players

1. Play the pattern at 60 BPM.
2. Use the correct finger for each note.
3. Keep every note equal in length.
4. Practise ascending and descending separately.
5. Join both directions after each feels comfortable.

Keyboard players should avoid looking at their hands continuously. Listen carefully to every note.

How to Practise Carnatic Alankaram

First, learn the hand actions of the tala without singing.

Next, speak the swaras while keeping the tala. Do not speed up when the pattern becomes familiar.

Practise the first speed with one swara per beat. Then use two swaras per beat for the second speed.

Advanced beginners may attempt four swaras per beat. The tala must remain steady across every speed.

A useful practice order is:

1. Perform the tala alone.
2. Recite the swaras in rhythm.
3. Sing in the first speed.
4. Repeat in the second speed.
5. Attempt the third speed with teacher guidance.
6. Return to the first speed without pausing.

Moving back to the first speed tests real rhythmic control.

Common Alankar Mistakes and Quick Fixes

• Singing faster than you can control → Reduce the speed and use a metronome.
• Treating Alankar as memorisation → Listen to the sound and recognise each swara.
• Ignoring the descending pattern → Give aroh and avaroh equal practice time.
• Losing tala while singing → Practise the hand actions separately first.
• Forcing high notes → Lower the starting pitch and keep the throat relaxed.
• Using unclear swaras → Pause on difficult notes and match them with a tanpura.
• Repeating one pattern daily → Rotate between straight, repeated and vakra patterns.

Frequently Asked Questions

What is Alankar in music?

Alankar is a structured swara pattern or musical ornament. In Hindustani music classes, it often means an exercise using Sa, Re, Ga, Ma, Pa, Dha and Ni. These exercises develop pitch accuracy, rhythm, voice control and familiarity with different note movements.

How many Alankars are there in Hindustani music?

Hindustani music has no single fixed number of Alankars. Teachers can create hundreds of patterns by repeating, skipping or rearranging swaras. Learners usually begin with simple ascending and descending patterns before attempting vakra, mixed and Merukhand-style combinations.

How many Alankarams are there in Carnatic music?

Beginners commonly learn seven Sapta Tala Alankarams. They are based on Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata and Eka Talas. These exercises teach students to sing swara patterns while maintaining different rhythmic structures and speeds.

Is Alankar the same as Palta?

The words are sometimes used interchangeably during Hindustani music lessons. Alankar usually means an organised swara pattern or ornament. Palta often refers to repeating and extending a chosen pattern across the scale. Usage can differ between teachers and musical lineages.

Which raga is used for Alankar practice?

Beginners often practise Hindustani Alankars with the natural swaras of Bilawal. Carnatic Alankarams are commonly taught in Mayamalavagowla. Teachers may later move the same exercise into another raga to develop stronger swara and raga awareness.

Related Music Terms

Swaras in Indian Music – the basic musical notes used to build melodies.

Saptak in Hindustani Music – a group of seven swaras arranged across an octave.

Aroh and Avaroh in Hindustani Music – the ascending and descending movement of a raga.

Tala in Indian Music – the repeating rhythmic cycle that organises musical time.

Raga in Indian Music – a melodic framework with characteristic notes, movements and phrases.

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