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Reply with quote  #16 
I think the main point to grasp here is for the instrumentalist to be conscious of chikari placement in the structure of the phrase. That certain notes need to be connected, and that striking a chikari between them will destroy this. Also, to know when to allow time for the natural decay of the main string before flooding the air with a chikari strike, and when it is appropriate to cut it short. Following this post I removed all but a few chiks from the alap I have been working on, and it has really allowed me to focus on the phrase structure. Once I understood the phrases fully, I could feel the right spots to add in a few more, where they really added to the music. However, if chiks are used as arbitrary filler, then they will destroy the delicate fabric of alap.

My 2 metal discs.

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