Alpatva And Bahutva

 

Alpatva = less of and Bahutva = plenty of


Beyond the Vadi, Samvadi, Anuvadi and Nyaas swars, most Raags go a step further and define more advanced rules related to how much or how little of every note in the Raag should be used in phrases to stay compliant with the Raag and to show the beauty of the raag. Alpatva and Bahutva are the terms used to describe the dominance or the lack of it for each note in the Raag.

Alpatva : Alpatva means lack of. A note is said to have Alpatva in a Raag when it must be used sparingly or if it must be skipped in a phrase. Alpatva is of two types:

  1. Anabhyas (sparing use) Alpatva-Anabyhas is when a note must be lightly touched upon in a phrase or when it's not supposed to be rested upon in phrases. Ex. in Bhimpalasi Dha is brief in descending phrases (Watch the video). You cannot rest on Dha or give it prominence. Dha in this case is said to have the Anabhyas type of Alpatva. Notes having Alpatva by Anabhyas are very crucial for the Raag but must be used only in the prescribed amount.

  2. Langhan (skip) Alpatva - This type of Alpatva in a Raag requires skipping a note in a phrase. Ex. in Raag Alhaiya Bilawal M is skipped in ascending (Watch the video). Here Ma is said to have Alpatva by Langhan.

Bahutva : Bahutva means an abundance of. Bahutva is used in the context of a note that must be used frequently when singing a Raag. This dominance of a particular note can be shown in two ways:

  1. Abhyaas (frequent use) Bahutva- Abhyas Bahutva of a note is when the Raag rules require a particular note to be used frequently in phrases and by resting on the note. In alaps such a note is developed a lot. Ex. Dha in Hameer has Bahutva by Abhyas because it is rested upon and used frequently in phrases.

  2. Alanghan (never skipping) Bahutva- Alanghan of a note is when the Raag does not allow the note to be skipped in a phrase. Doing so may make it sound like a different Raag. It is not necessary that it must be prolonged or rested on, but it should not be skipped in a phrase. Ex. In Yaman Teevra Ma must be used frequently in the path from G to P or P to Ga.

Vadi-Samvadi notes of a Raag always have Bahutva, but in many Raags, the Bahutva status is also given to some other notes in the Raag. Ex. Dha in Bageshree is not the vadi or samvadi, but is used a lot.