31 Professional Alankara in Indian Classical Music for Flute Practice

Definition & Purpose:

Alankara, or Alankāra, in Indian classical music, refers to ornamental or decorative patterns that are constructed using musical notes, or swaras. These patterns are sequential and exhibit significant repetitive structures, which are essential for the skill development of both students and practitioners of the flute. Each Alankar spans from the middle octave Sa (S) to the higher octave Sa’ (S`), following an ascending sequence known as Arohana, and the reverse for descending sequences, known as Avarohana. According to the “Sangeet Darpan,” an Alankar is a continuous collection of swaras, with the Avarohana structured as the exact opposite of the Arohana. Alankaras serve as the skeletal framework for embellishing melodies and are crucial in the training of flute players. They help in building a robust foundation that supports the player’s ability to handle complex melodic structures typical of various ragas. For flutists, the practice of Alankaras is particularly beneficial for developing breath control, finger agility, and the precision needed to execute intricate musical phrases.

Benefits of Practicing Alankaras on the Flute

Improved Technical Precision:
- Practicing Alankaras enhances the ability to manage breath and maintain consistent airflow, which is crucial for producing clear and stable notes on the flute.
- Regular execution of these patterns improves finger dexterity and the swift movement required to transition between notes smoothly.
Note Accuracy and Musical Intonation:
- Ahankaras train flutists in the art of precise note articulation and help in understanding the spacing and timing between notes, which are key to mastering Indian classical music scales.
- They aid in developing an ear for accurate pitch, which is critical when playing the flute, as the instrument requires exact finger positioning and breath control to alter pitches subtly.
Enhanced Musical Expression:
- Through the repetitive practice of Alankaras, flutists gain the ability to infuse emotion into their performances by varying dynamics, tempo, and the intensity of notes.
- This practice also instills a sense of rhythm and timing, enriching the expressive quality of the music produced.
Foundation for Advanced Studies:
- Alankaras are instrumental in preparing flute players for more complex compositions and improvisations in various ragas.
- They serve as building blocks that allow musicians to explore and innovate within the framework of traditional patterns, enhancing their repertoire and performance skills.
Vocal and Instrumental Synchronization:
- For flutists who also sing, Alankaras help in synchronizing vocal pitch with flute play, ensuring both are in harmony, which is a desired skill in performances that involve both singing and playing.

By incorporating Alankaras into daily practice, flutists can not only refine their technical skills but also deepen their understanding of the nuances of Indian classical music, paving the way for a more nuanced and soulful musical expression.

Musical Notation Guide:

Lower Octave: .S (Sa), .R (Re), .G (Ga), .M (Ma), .P (Pa), .D (Dha), .N (Ni)
Middle Octave: S (Sa), R (Re), G (Ga), M (Ma), P (Pa), D (Dha), N (Ni)
Higher Octave: S’ (Sa), R’ (Re), G’ (Ga), M’ (Ma), P’ (Pa), D’ (Dha), N’ (Ni)

Incorporating Alankaras into Flute Music Practice for Professionals

For professional flutists, incorporating Alankaras into daily practice routines is essential to refine technique, increase lung capacity, and enhance the precision of finger movements. These sequences are not just exercises but are vital in mastering the control required for complex compositions and improvisations in Indian Classical Music.

Implementing Alankaras in Practice Sessions:

Routine:

Begin with simple patterns and gradually incorporate more complex Alankaras as warm-ups before moving on to raga practices or performance pieces.

Recording Sessions:

Regularly record practice sessions to analyze tone, intonation, and the fluidity of transitions. Use these recordings to identify areas for improvement.

Feedback:

Engage with a mentor or teacher to receive constructive feedback on Alankar execution and integration into larger pieces.

31 Professional Alankara

Here are 31 basic Alankars (patterns) in both ascending (Aaroh) and descending (Avaroh) sequences. By focusing on these professional Alankars, flutists can ensure that every aspect of their technique is honed to an exceptional standard, paving the way for outstanding musical performances and a deep, intuitive connection with the flute.

Alankar 1:

Arohan: Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa’

Avrohan: Sa’, Ni, Dha, Pa, Ma, Ga, Re, Sa

Alankar 2:

Arohan: Sa Sa, Re Re, Ga Ga, Ma Ma, Pa Pa, Dha Dha, Ni Ni, Sa’ Sa’

Avrohan: Sa’ Sa’, Ni Ni, Dha Dha, Pa Pa, Ma Ma, Ga Ga, Re Re, Sa Sa

Alankar 3:

Arohan: Sa Re Ga, Re Ga Ma, Ga Ma Pa, Ma Pa Dha, Pa Dha Ni, Dha Ni Sa’

Avrohan: Sa’ Ni Dha, Ni Dha Pa, Dha Pa Ma, Pa Ma Ga, Ma Ga Re, Ga Re Sa

Alankar 4:

Arohan: Sa Re Sa, Re Ga Re, Ga Ma Ga, Ma Pa Ma, Pa Dha Pa, Dha Ni Dha, Ni Sa’ Ni, Sa’ Re’ Sa’

Avrohan: Sa’ Re’ Sa’, Ni Sa’ Ni, Dha Ni Dha, Pa Dha Pa, Ma Pa Ma, Ga Ma Ga, Re Ga Re, Sa Re Sa

Alankar 5:

Arohan: Sa Re, Re Ga, Ga Ma, Ma Pa, Pa Dha, Dha Ni, Ni Sa’

Avrohan: Sa’ Ni, Ni Dha, Dha Pa, Pa Ma, Ma Ga, Ga Re, Re Sa

Alankar 6:

Arohan: Sa Re Ga Ma, Re Ga Ma Pa, Ga Ma Pa Dha, Ma Pa Dha Ni, Pa Dha Ni Sa’

Avrohan: Sa’ Ni Dha Pa, Ni Dha Pa Ma, Dha Pa Ma Ga, Pa Ma Ga Re, Ma Ga Re Sa

Alankar 7:

Arohan: Sa Re Ga Ma Pa, Re Ga Ma Pa Dha, Ga Ma Pa Dha Ni, Ma Pa Dha Ni Sa’

Avrohan: Sa’ Ni Dha Pa Ma, Ni Dha Pa Ma Ga, Dha Pa Ma Ga Re, Pa Ma Ga Re Sa

Alankar 8:

Arohan: Sa Ga, Re Ma, Ga Pa, Ma Dha, Pa Ni, Dha Sa’

Avrohan: Sa’ Dha, Ni Pa, Dha Ma, Pa Ga, Ma Re, Ga Sa

Alankar 9:

Arohan: Sa Sa Ga Ga, Re Re Ma Ma, Ga Ga Pa Pa, Ma Ma Dha Dha, Pa Pa Ni Ni, Dha Dha Sa’ Sa’

Avrohan: Sa’ Sa’ Dha Dha, Ni Ni Pa Pa, Dha Dha Ma Ma, Pa Pa Ga Ga, Ma Ma Re Re, Ga Ga Sa Sa

Alankar 10:

Arohan: Sa Re Ga Re Sa, Re Ga Ma Ga Re, Ga Ma Pa Ma Ga, Ma Pa Dha Pa Ma, Pa Dha Ni Dha Pa, Dha Ni Sa’ Ni Dha, Ni Sa’ Re’ Sa’ Ni, Sa’ Re’ Ga’ Re’ Sa’

Avrohan: Sa’ Re’ Ga’ Re’ Sa’, Ni Sa’ Re’ Sa’ Ni, Dha Ni Sa’ Ni Dha, Pa Dha Ni Dha Pa, Ma Pa Dha Pa Ma, Ga Ma Pa Ma Ga, Re Ga Ma Ga Re, Sa Re Ga Re Sa

Alankar 11:

Arohan: Sa Sa Re Re Sa Sa, Re Re Ga Ga Re Re, Ga Ga Ma Ma Ga Ga, Ma Ma Pa Pa Ma Ma, Pa Pa Dha Dha Pa Pa, Dha Dha Ni Ni Dha Dha, Ni Ni Sa’ Sa’ Ni Ni, Sa’ Sa’ Re’ Re’ Sa’ Sa’

Avrohan: Sa’ Sa’ Re’ Re’ Sa’ Sa’, Ni Ni Sa’ Sa’ Ni Ni, Dha Dha Ni Ni Dha Dha, Pa Pa Dha Dha Pa Pa, Ma Ma Pa Pa Ma Ma, Ga Ga Ma Ma Ga Ga, Re Re Ga Ga Re Re, Sa Sa Re Re Sa Sa

Alankar 12:

Arohan: Sa Ma, Re Pa, Ga Dha, Ma Ni, Pa Sa’

Avrohan: Sa’ Pa, Ni Ma, Dha Ga, Pa Re, Ma Sa

Alankar 13:

Arohan: Sa Sa Ma Ma, Re Re Pa Pa, Ga Ga Dha Dha, Ma Ma Ni Ni, Pa Pa Sa’ Sa’

Avrohan: Sa’ Sa’ Pa Pa, Ni Ni Ma Ma, Dha Dha Ga Ga, Pa Pa Re Re, Ma Ma Sa Sa

Alankar 14:

Arohan: Sa Pa, Re Dha, Ga Ni, Ma Sa’

Avrohan: Sa’ Ma, Ni Ga, Dha Re, Pa Sa

Alankar 15:

Arohan: Sa Sa Pa Pa, Re Re Dha Dha, Ga Ga Ni Ni, Ma Ma Sa’ Sa’

Avrohan: Sa’ Sa’ Ma Ma, Ni Ni Ga Ga, Dha Dha Re Re, Pa Pa Sa Sa

Alankar 16:

Arohan: Sa Re Ga Sa Re Ga Ma, Re Ga Ma Re Ga Ma Pa, Ga Ma Pa Ga Ma Pa Dha, Ma Pa Dha Ma Pa Dha Ni, Pa Dha Ni Pa Dha Ni Sa’

Avrohan: Sa’ Ni Dha Sa’ Ni Dha Pa, Ni Dha Pa Ni Dha Pa Ma, Dha Pa Ma Dha Pa Ma Ga, Pa Ma Ga Pa Ma Ga Re, Ma Ga Re Ma Ga Re Sa

Alankar 17:

Arohan: Re Sa, Ga Re, Ma Ga, Pa Ma, Dha Pa, Ni Dha, Sa’ Ni, Re’ Sa’

Avrohan: Sa’ Re’, Ni Sa’ Dha Ni, Pa Dha, Ma Pa, Ga Ma, Re Ga, Sa Re

Alankar 18:

Arohan: Ga Re Sa, Ma Ga Re, Pa Ma Ga, Dha Pa Ma, Ni Dha Pa, Sa’ Ni Dha, Re’ Sa’ Ni, Ga’ Re’ Sa’

Avrohan: Sa’ Re’ Ga’, Ni Sa’ Re’, Dha Ni Sa’, Pa Dha Ni, Ma Pa Dha, Ga Ma Pa, Re Ga Ma, Sa Re Ga

Alankar 19:

Arohan: Sa Ga Sa Re Ga, Re Ma Re Ga Ma, Ga Pa Ga Ma Pa, Ma Dha Ma Pa Dha, Pa Ni Pa Dha Ni, Dha Sa’ Dha Ni Sa’

Avrohan: Sa’ Ni Sa’ Dha Ni, Ni Pa Ni Dha Pa, Dha Ma Dha Pa Ma, Pa Ga Pa Ma Ga, Ma Re Ma Ga Re, Ga Sa Ga Re Sa

Alankar 20:

Arohan: Sa Re Sa Ga, Re Ga Re Ma, Ga Ma Ga Pa, Ma Pa Ma Dha, Pa Dha Pa Ni, Dha Ni Dha Sa’, Ni Sa’ Ni Re’, Sa’ Re’ Ga’ Sa’

Avrohan: Sa’ Ni Dha Sa’, Ni Dha Pa Ni, Dha Pa Ma Dha, Pa Ma Ga Pa, Ma Ga Re Ma, Ga Re Sa Ga, Re Sa .Ni Re, Sa .Ni .Dha Sa

Alankar 21:

Arohan:

S ————— S’

S ————- N

S ————- D

S ————- P

S ——— M

S ——- G

S —– R —– S

Avrohan:

S’ —————- S

S’ ————– R

S’ ————- G

S’ ———— M

S’ ———- P

S’ ——— D

S’ —– N —– S’

Alankar 22:

Arohan: Sa Ga Re Sa, Re Ma Ga Re, Ga Pa Ma Ga, Ma Dha Pa Ma, Pa Ni Dha Pa, Dha Sa’ Ni Dha, Ni Re’ Sa’ Ni, Sa’ Ga’ Re’ Sa’

Avrohan: Sa’ Ga’ Re’ Sa’, Ni Re’ Sa’ Ni, Dha Sa’ Ni Dha, Pa Ni Dha Pa, Ma Dha Pa Ma, Ga Pa Ma Ga, Re Ma Ga Re, Sa Ga Re Sa

Alankar 23:

Arohan: Sa Re Sa Ga Re Sa, Re Ga Re Ma Ga Re, Ga Ma Ga Pa Ma Ga, Ma Pa Ma Dha Pa Ma, Pa Dha Pa Ni Dha Pa, Dha Ni Dha Sa Ni Dha, Ni Sa’ Ni Re’ Sa’ Ni, Sa’ Re’ Sa’ Ga’ Re’ Sa’

Avrohan: Sa’ Re’ Sa’ Ga Re’ Sa’, Ni Sa’ Ni Re’ Sa’ Ni, Dha Ni Dha Sa Ni Dha, Pa Dha Pa Ni Dha Pa, Ma Pa Ma Dha Pa Ma, Ga Ma Ga Pa Ma Ga, Re Ga Re Ma Ga Re, Sa Re Sa Ga Re Sa

Alankar 24:

Arohan: Sa Re Sa Re Ga, Re Ga Re Ga Ma, Ga Ma Ga Ma Pa, Ma Pa Ma Pa Dha, Pa Dha Pa Dha Ni, Dha Ni Dha Ni Sa’

Avrohan: Sa’ Ni Sa’ Ni Dha, Ni Dha Ni Dha Pa, Dha Pa Dha Pa Ma, Pa Ma Pa Ma Ga, Ma Ga Ma Ga Re, Ga Re Ga Re Sa

Alankar 25:

Arohan: Sa Re Ga Ma Pa Dha Ni Sa, Re Ga Ma Pa Dha Ni Sa’

Avrohan: Sa’ Ni Dha Pa Ma Ga Re Sa, Ni Dha Pa Ma Ga Re Sa

Alankar 26:

Arohan: Sa, Sa Re Sa, Sa Re Ga Sa, Sa Re Ga Ma Sa, Sa Re Ga Ma Pa Sa, Sa Re Ga Ma Pa Dha Sa, Sa Re Ga Ma Pa Dha Ni Sa, Sa Re Ga Ma Pa Dha Ni Sa’

Avrohan: Sa’, Sa’ Ni Sa’, Sa’ Ni Dha Sa’, Sa’ Ni Dha Pa Sa’, Sa’ Ni Dha Pa Ma Sa’, Sa’ Ni Dha Pa Ma Ga Sa’, Sa’ Ni Dha Pa Ma Ga Re Sa’`, Sa’ Ni Dha Pa Ma Ga Re Sa’

Alankar 27:

Arohan: Sa Ga, Re Ma, Ga Pa, Ma Dha, Pa Ni, Dha Sa’

Avrohan: Sa’ Dha, Ni Pa, Dha Ma, Pa Ga, Ma Re, Ga Sa

Alankar 28:

Arohan: Sa Sa Ga Ga, Re Re Ma Ma, Ga Ga Pa Pa, Ma Ma Dha Dha, Pa Pa Ni Ni, Dha Dha Sa’ Sa’

Avrohan: Sa’ Sa’ Dha Dha, Ni Ni Pa Pa, Dha Dha Ma Ma, Pa Pa Ga Ga, Ma Ma Re Re, Ga Ga Sa Sa

Alankar 29:

Arohan: Sa Re Ga Re Sa, Re Ga Ma Ga Re, Ga Ma Pa Ma Ga, Ma Pa Dha Pa Ma, Pa Dha Ni Dha Pa, Dha Ni Sa’ Ni Dha, Ni Sa’ Re’ Sa’ Ni, Sa’ Re’ Ga’ Re’ Sa’

Avrohan: Sa’ Re’ Ga’ Re’ Sa’, Ni Sa’ Re’ Sa’ Ni, Dha Ni Sa’ Ni Dha, Pa Dha Ni Dha Pa, Ma Pa Dha Pa Ma, Ga Ma Pa Ma Ga, Re Ga Ma Ga Re, Sa Re Ga Re Sa

Alankar 30:

Arohan: Sa Sa Re Re Sa Sa, Re Re Ga Ga Re Re, Ga Ga Ma Ma Ga Ga, Ma Ma Pa Pa Ma Ma, Pa Pa Dha Dha Pa Pa, Dha Dha Ni Ni Dha Dha, Ni Ni Sa’ Sa’ Ni Ni, Sa’ Sa’ Re’ Re’ Sa’ Sa’

Avrohan: Sa’ Sa’ Re’ Re’ Sa’ Sa’, Ni Ni Sa’ Sa’ Ni Ni, Dha Dha Ni Ni Dha Dha, Pa Pa Dha Dha Pa Pa, Ma Ma Pa Pa Ma Ma, Ga Ga Ma Ma Ga Ga, Re Re Ga Ga Re Re, Sa Sa Re Re Sa Sa

Alankar 31:

Arohan: Sa Re Sa Re Sa Re, Re Ga Re Ga Re Ga, Ga Ma Ga Ma Ga Ma, Ma Pa Ma Pa Ma Pa, Pa Dha Pa Dha Pa Dha, Dha Ni Dha Ni Dha Ni, Ni Sa’ Ni Sa’ Ni Sa’

Avrohan: Ni Sa’ Ni Sa’ Ni Sa’, Dha Ni Dha Ni Dha Ni, Pa Dha Pa Dha Pa Dha, Ma Pa Ma Pa Ma Pa, Ga Ma Ga Ma Ga Ma, Re Ga Re Ga Re Ga, Sa Re Sa Re Sa Re

Conclusion

In conclusion, the practice of Ahankaras in Indian classical music, specifically for the flute, plays a pivotal role in both foundational training and advanced musical development. By engaging with these ornamental patterns, flutists not only enhance their technical skills—such as breath control, finger dexterity, and note accuracy—but also deepen their musical expression, contributing significantly to their overall artistic growth. Alankaras not only prepare musicians for the complexities of various ragas but also allow them to explore the nuances of rhythmic synchronization and melodic embellishment, ultimately enriching their performance capabilities and artistic expression. Therefore, Alankaras are not merely exercises but are essential tools for any flutist aiming to master the subtle art of Indian classical music, ensuring a comprehensive understanding and application of this intricate genre.

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