Introduction

Alap is the first section of a raga in north Indian classical music (Hindustani Sangeet). It is the only arhythmic portion of the raga (it is without rhythm) and it is entirely improvised. Alap starts very slow: in all likelihood, much slower than the pace of your everyday life. So take a deep breath and slow way down. You are not in any hurry at all playing alap. Ensure every note comes out beautifully, and fades out smoothly. Make use of meend (the connection between the notes), gamaks and other ornaments.

Hold important notes longer and spend more time playing them compared to less important notes. Spend a lot of time on vadi (the most important note of the raga). While the alap has no rhythm overall, within a single phrase there could be rhythm (though when the phrase ends, the rhythm ends with it).

Below follows the basic structure of alap. Once you understand it and have integrated it into your playing, you can change aspects of it according to your artistic desires.

2025-09-14 Egypt Cairo Muhammad Ali Mosque Kerry Kriger Bansuri

Bansuri Bliss Founder Dr. Kerry Kriger plays bansuri at the Muhammad Ali mosque in Cairo, Egypt, September 14th, 2025. Photo atop page is from Cilingoz Nature Park on the Black Sea in Turkey, September 23rd, 2025.

Beginning and Low Notes

Start with Sa or a phrase that ends with Sa. Hold the Sa as long as you can and let it fade out so smoothly that it blends with the silence. Proceed to explore the notes below Sa, introducing one new note at a time. Always have one note in your mind that you are focusing on. Use all the notes that you have already introduced, but always return to the focal note until you decide it’s time to introduce the next note. Go all the way down to the lowest note you can play on your flute in that raga; usually this will be Pa or Ma.

Returning To Sa

Return to Sa to end the low notes section of the alap. Anytime you return to Sa to end a section of the music, you can hold the Sa as long as you want, and fade out smoothly. Sa is the note of resolution.

Ascending

Now move above Sa, introducing the next note in the scale. Improvise using all the notes you have already introduced. Eventually arrive at Pa (assuming the raga uses Pa), doing so as smoothly as possible. Pa is usually an important note, and transitioning from the lower register to the upper register on a flute requires additional awareness.

Arrival At High Sa (The Antara)

When eventually you arrive at High Sa, the antara of the alap has begun. Hold the High Sa a long time and spend time improvising with it and all the notes below it. Play a flash (fast line that goes quickly down the scale then back up), or a wisp (slow, mellow line that descends and returns).

Playing Your Highest Note And Descending To Sa

Continue upwards in the scale introducing one note at a time until you arrive at the highest note you will play (likely High Pa, but possibly higher). Descend to High Sa and play it for the final time of the alap. Then descend to Sa and end the alap with a long Sa that fades out into nothing.

Alap Summary

Play slow and with beautiful tone. Start at Sa, explore the lower notes, then return to Sa. Move upwards to High Sa. Move up to your highest note, then back down to High Sa. Descend to Sa to end the alap with a beautiful long note. Always have a note in mind that you are focused on, even while making use of the other notes in the raga that you have already introduced.

Alap Is Best Learned By Playing And Receiving Feedback

I hope this explanation of the structure of alap helped! But I know that the best way to integrate this into your playing is through actual bansuri lessons, during which you can follow along with a teacher, play and get feedback on your playing.

As such, I encourage you to sign up for Bansuri Bliss Membership (which includes access to over 100 group lessons per year) and take private bansuri lessons whenever possible.

“I believe that technology is very important and has led to the explosion of talent across the world. I still think that technology is only a supplement, never a substitute for a guru. I insist every student take personal classes from a guru.” – N. Ravikiran